From a 12-neck guitar to a euphonium that pours beer, there is no limit to the musical instruments a human mind can dream up. In this encyclopedic collection, Loughridge and Patteson expand on their website of the same name to bring an illuminating historical survey of “fictophones.” The chapters are divided into loose taxonomies. “Historical fictophones” include Leonardo da Vinci’s sketches of the “viola organista” (“a keyboard instrument in which the strings were sounded not by plectra or hammers, but by constantly turning wheels”) and “glissando recorder” (“whose pitch could be continuously controlled”). “Living instruments” include two ways to bring music out of a swine: a pig organ and a pig bagpipe. “Cosmic instruments” count the universe itself as an instrument, citing the ancient Greek notion of the music of the spheres. “Computational instruments” twist our understanding of instruments even further, such as with Torricelli’s trumpet, a mathematical shape with a finite volume but infinite surface area. These creations are consistently interesting, and even those with a wide knowledge in organology will learn from this specific niche. As the examples above show, the book often reads like a list of oddities. While more anecdotes and analysis would be welcome, the subject matter often doesn’t allow for it—few of the instruments mentioned have ever been built or played. Still, the authors succeed in describing the various instruments, and ample images, illustrations, and diagrams help readers imagine the impossible. In spite of the matter-of-fact presentation, plentiful historical sources color the text, such as this description of the cat organ from 1750: “Tho’ the cat-organ, when accurately in tune, is incomparably melodious…its persuasive harmony can, at one time, draw St Cecilia from the spheres, and, at another, with proper alteration, wou’d frighten away the Devil himself.”