Narre Warren (2003, revised 2006) began life as part of a larger, programmatic work titled Immanence of the Eater and the Eaten. It formed the basis of the concluding section:
...the scene shifts to a carport in Glen Waverley. Two teenagers attempt to foment suburban revolution by channelling the ghosts of Robin Boyd and Iannis Xenakis, and then challenging each other to an apocalyptic game of ping-pong. The activity summons the ghost of Percy Grainger, who immediately devises a free-music machine in the form of a ping-pong table shaped like a three-dimensional Galton board, down which balls may continually cascade according to the laws of probability.
The piece is built upon one of the clichés of traditional musique concrète: the manipulated sound of a bouncing pingpong ball. A recording of John Rodgers and Erkki Veltheim “playing” ping pong was processed through Granulab, a granular synthesis program. Granulab enables the user to perform in real-time, manipulating the sound through various mixes of user-defined patches specifying how the source sound may be transformed. For Narre Warren, the recording of this Granulab performance was further developed in AudioMulch, using constant alterations in the filtering and compression of selected frequency ranges.