Werner Meyer-Eppler was one of the pioneering voices in German electronic music, and this 1959 release captures him deep in exploration of sound's fundamental building blocks. *Residualton und Formantton* documents his work with pure tones and resonant frequencies—the raw materials of synthesis itself—presented through the lens of serious acoustic research married to artistic vision. Released on Gravesaner Blätter, the label of the Darmstadt School's experimental circle, this record sits at the intersection of physics and composition, where Meyer-Eppler's methodical investigations into how sound behaves became music in their own right. Rather than melody or harmony in any traditional sense, you're hearing the artist think aloud through oscillators and filters, revealing the mechanics of tone production with the fascination of someone who understood that electronic instruments didn't just make music differently—they made us hear sound itself anew.