By now I think we can safely enshrine Michael Tan­ner in the hall of fame of com­posers who… — well, I still have dif­fi­culties describ­ing this move­ment, if indeed it is one, but I would say that it is char­ac­ter­ised by a mod­ern or for­ward-look­ing com­bin­a­tion of instru­mental (mostly acous­tic) music with elec­tronic record­ing and edit­ing tech­niques, field record­ings, and sampling. At the same time, rather than run­ning with the obvi­ous theme of futur­istic urban music, these com­posers look back­ward and inward, to a partly real, partly ima­gined his­tor­ical land­scape.