If John Cage had access to digital technology when thinking of producing music for a prepared piano it might have sounded like this. As it is, some of Thomas Brinkmann's A 1000 Keys does sound like certain Cage pieces. That's a good thing. Another good thing is that Brinkmann isn't content to just translate the hammering of keys into a technological version but instead exploits the percussiveness to maximum effect, so much so that a track such as LHR might leave your senses reeling; it does mine. When the piano is doubled up, as it frequently is, the effect is even more thrilling as each repetitious phase morphs into the other to form a rhythmic barrage. There are quieter pieces, creating space in which those wonderful deep chords can drop along with electronic touches adding depth and colour to what is overall an impressive, singular exploration of sonic qualities inherent in the piano.