The MPEG-1/2 Layer III standard, more commonly referred to as MP3, has become a nearly ubiquitous digital audio file format. First published in 1993, this codec implements a lossy compression algorithm based on a perceptual model of human hearing. Listening tests, primarily designed by and for western-european white men, were used to develop and refine the encoder. These tests determined which sounds were perceptually important and which could be erased or altered without being noticed. This has inadvertently created a class of privileged sounds. A format calibrated for suboptimal listening environments has invaded nearly every contemporary listening space. It acts as a curator, determining which sounds can and cannot enter these spaces. In this paper, I develop techniques to recover the sounds which are discarded by MP3 compression. I then use this salvaged audio as the primary musical material in a series of new compositions.