Is the last song on this CD created almost entirely out of synthesized cell-phone ringtones whose frequency cannot be discerned by anyone older than 30 or is it really just one long vibrating sound, like a violin chord being held ad infinitum, like the whine of some giant electronic mosquito, like the drone of a computerized bee? Is this monotonal susurration supposed to have some existential significance—symbolic of an understated primal scream, perhaps? Its simplicity is a little too complicated for me.

And another question—why are all these young chanteuses so fond of striding around in their FMPs and recording the sound to tag onto the end of their songs? That has a sort of primality of its own, n’est-ce pas? These things are very intriguing to me.