Cataloging systems for recorded sound often carry unspoken assumptions about the types of work that fit into established categorical buckets, assumptions that become visible when a work is marked outside every standard genre framework to land on the repeated designation of Other/Other/Other. This classification is rarely a reflection of the sound itself, which carries all the depth and intentionality of any work that falls neatly into the widely recognized genre tags that anchor most music industry catalogs; instead, it reveals the gaps in the systems built to organize creative output, gaps that emerge when work defies the narrow, often biased limits of what archivists, platforms, or industry analysts have been trained to recognize as a distinct, classifiable category.