Sometime Christian Fennesz-collaborator Rosy Parlane apparently constructs his recordings from sample loops, pianos, guitars and field recordings manipulated by digital means, but these named sound sources are barely discernible in his expansive drone pieces. Unlike fellow Touch artist Chris Watson, Parlane offers no clues or signposts as to the origin of his found sounds, and tracks are simply labeled “Part 1,” “Part 2” and “Part 3.” Like much drone music, Iris frequently hints at eschatological concerns, but Parlane chips at his tracks’ backbones with fidgety, skittering noise: The unidentified skree in “Part 1” is evocative of sounds as disparate as running water, close-contact recordings of ants devouring rotting fruit or static emanating from the sun.