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The last time Matthew Herbert performed in Tokyo, among his instruments were a bag of Big Macs, a pair of Gap jeans and a television set.

For each piece, Herbert took one of these symbols of consumer capitalism and demolished it. The sounds of their demise — the crinkle of the McDonald’s bag, the rip of the jeans’ seams, the tinkle of the TV screen as it shattered — were recorded on a bank of microphones then mixed on the spot into Herbert’s trademark quirky, sunny dance music.

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