[Mordin very rarely gets angry. Thus far, it has happened three times since he turned fourteen—once, in high school, in response to a bully, and twice during his FBI career, dealing with particularly disgusting criminals.
So when he starts getting angry again, for no reason, trapped in a loop of thoughts about how unfair his lot in life seems, a part of him detached from his emotional processing becomes suspicious, until he turns a corner and the piano chords become inaudible.
And suddenly it stops, and it takes less than a second for Mordin to make the connection.
Above all else, an omnitool is just a computer, and enough musical dissonance should be able to overpower the piano at least in a small radius. So he sets up three instances of Pandora, each tuned to a different station, and begins to wade his way through the mob, as jazz and rap and pop clash together and clear his way.
Mordin is sure of this much: this is going to be an absolute pain to deal with.]
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So when he starts getting angry again, for no reason, trapped in a loop of thoughts about how unfair his lot in life seems, a part of him detached from his emotional processing becomes suspicious, until he turns a corner and the piano chords become inaudible.
And suddenly it stops, and it takes less than a second for Mordin to make the connection.
Above all else, an omnitool is just a computer, and enough musical dissonance should be able to overpower the piano at least in a small radius. So he sets up three instances of Pandora, each tuned to a different station, and begins to wade his way through the mob, as jazz and rap and pop clash together and clear his way.
Mordin is sure of this much: this is going to be an absolute pain to deal with.]