Solo Beijing was first released on CD by KwanYin Records in 2007 and documents a 2006 E# Tectonics concert during his first tour in China.

TECTONICS is a solo program that may be performed on saxophones or guitars, a laptop running MAX/MSP and other DSP applications, plus a variety of external hardware processors. E#'s work with electronics dates back to the late 60's and has included extended techniques on a variety of instruments, both "traditional" and invented, as well as use of analog synthesizers and processors, and, later, experiments with Music 4 running on a PDP-8.   When the Atari ST first appeared, it was utilized to manipulate samples and MIDI devices using the software M in the Virtual Stance project which later evolved into Tectonics with hardware and software updates.

Solo Beijing - The Wire review, issue 285 by Julian Cowley）:
Multi-instrumentalist Elliott Sharp is, like fellow New Yorker John Zorn, a restless musician working with consistent intensity across a range of musical styles and in unpredictable contexts. His vast discography encompasses earthy blues, avant rock, coruscating string quartets, movie soundtracks, interpretations of Thelonious Monk tunes, electroacoustic investigations and much else besides. This set of performances, recorded live in Beijing last year, presents him alone with electric guitar, expanded and enhanced through his ‘Tectonics’ electronic set-up.

It’s quintessential Sharp: concentrated,rhythmically taut and intricate, fired up with enthusiasm for the brash, antagonistic sound of the guitar, yet strictly disciplined and subtle in his real-time shaping and arrangement of that sound.Technically and sonically, Tectonics, Solo Beijing recalls at times pioneers of extended guitar vocabulary such as Fred Frith, Henry Kaiser and Hans Reichel, not to mention Sharp’s own early work. There’s plenty of improvisatory edge and stylistic flexibility in this music, but there’s also a strong sense of the practiced composer’s overview and accumulated know-how. Tapping the strings percussively has become a favored technique in Sharp’s playing; it returns repeatedly to affirm rhythmic definition, supplemented very occasionally with drum machine grooves. His live processing, on the other hand, swells and diffuses the guitar’s metallic precision into orchestrated sweeps and textured layering. There’s a healthy evasiveness to Sharp’s musical identity, but if you’re looking for somewhere to anchor it, this fine set is as good a place as any.