Composer Eric Moe draws from a wide well of influences, integrating various elements from across the aesthetic spectrum into music that is rhythmically propulsive and preserves an emphasis on melodic development and harmonic context. The works on his latest collection, "Uncanny Affable Machines," are all engaged, in one form or another, with the paradigm of human/machine interaction. Firmly within a polemical tradition related to electro-acoustic composition, Moe engages with the complex dynamics suggested by a performance involving a live human and a prerecorded track. Many of the sounds on the playback are "organic" themselves, however, involving manipulated recordings of human performers, or recorded sounds from the environment. And of course, in order to coordinate with the playback, a live performer needs to discipline themselves to execute the passagework precisely with the tape each time, making themselves more machine-like. This is just one of the ways that the medium invites us into a fascinating dialogue blurring the lines between the technological and the human, and Moe is acutely aware of this in his approach.