Delaurenti explains that The night I met Maria C___ is “an aural take on waste and getting wasted.” The recording of Seattle City Dump is unedited and complete from start to finish, while the title track was “aggressively edited from a single evening of drunken prowling.” To record the sounds of the Wallingford Transfer Station, he “snuck in a normally locked gate and blithely strolled in, setting up my gear right in the dump’s sweet spot. Various personnel kept wandering over to see what I was doing, so I made sure to look very official, checking meters, noiselessly miming taking notes on a notepad and otherwise looking bureaucratic yet bored.” On “The night I met Maria C___” Delaurenti’s roving mics accompany him to and from a party (even following him to the restroom), in an attempt to preserve what the composer ardently believes will one day become increasingly isolated and regulated – sound in the public space: “Mark my word, in the next twenty years someone will release a compilation of “room tone” culled from the archives of Hollywood sound personnel. Noise cancellation technology will soon be able to not only “quiet” a room but hermetically seal conversations, confining them to the person next to us.” Delaurenti’s interest is in capturing speech as it is: “I’m a big believer in Partch’s “speech music” idea and hope that there is some music therein for folks to enjoy.”