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Funny how it took a Berklee College of Music-educated guitarist to rouse drum ‘n’ bass from its late-’90s slumber. Recording as Hrvatski, Keith Fullerton Whitman imbued the DIY, usually ax-free genre with a rhythmic and textural inventiveness it hadn’t experienced in years. On releases such as 1998’s Attention: Cats compilation and 1999’s Oiseaux 96-98 LP, he manipulated the trademark “Amen” breakbeat into near-infinite variations while adding a distinctly highbrow set of tones derived from musique concrete. On Playthroughs, his debut album under his own name, the Cambridge, Mass.-based Whitman again shows off his academic-music roots. The focus here is on the subtle tonal mutations that have been the province of minimalist composers such as Phill Niblock and Terry Riley. And though he’ll probably never grace the cover of Guitar Player (despite writing a column for the magazine), Whitman has created an excellent suite of solo guitar pieces that render unrecognizable the acoustic and electric instruments from which they originate. It’s almost required to break into onomatopoeia when describing these crafty laptop, ring-modulator, and—what else?—granular-re-synthesis-algorithm manipulations: The gently fluctuating ooooooooos of “Track 3a (2waynice)” sound as if they might be coming from the rubbed rims of dozens of wine glasses. The ba-bum-ba-bum-screeeeees of “Feedback Zwei” bring to mind Charlemagne Palestine’s Bosendorfer organ workouts crossed with an airplane propeller. And the slowly building mmmmmmmmms of “ACGTR SVP” are what early Stereolab might sound like stripped down to the Farfisa and played on 16. Most of the beautifully alchemized guitar particles here more than fulfill Brian Eno’s dictum that ambient music should both work as aural wallpaper and reward close listening. And for those who worship the drone’s enveloping charms, Playthroughs proves beyond a doubt that God is in the details. —Dave Segal