Lemon Kittens - Cake Beast - 12"

Side A :
1. Kites
2. Only A Rose

Side B :
1. Popsykle

"Cake Beast" was released by United Dairies in 1980.

Get it here : Lemon Kittens - Cake Beast

Lemon Kittens - We Buy A Hammer For Daddy

From Allmusic.com : "The Lemon Kittens' We Buy a Hammer for Daddy was the second release on the United Dairies label (the first being the mythical debut album by Nurse With Wound, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella) when it was still managed by NWW founding members Steven Stapleton and John Fothergill (the latter eventually handed over the imprint to Stapleton). The UD mission statement spoke of the aim "to release LPs of very progressive/experimental music that do not fit into the neatly labelled boxes of record company A&R men." A perfect description for the Kittens' bizarre mix of chalkboard saxophones, spacy flutes, chunky guitars, and claustrophobic close-miked keyboards, topped off with vocals by Karl Blake (mildly hysterical) and Danielle Dax (curiously detached). The tracks, with one exception all under four minutes duration, are all highly original and have little precedent either in or beyond the annals of British pop/rock (enthusiastic reviews of the time compared the group to the Pop Group, Stockhausen, and Anthony Braxton). We Buy a Hammer for Daddy belongs with Alternative TV's Vibing Up the Senile Man and the first This Heat LP as one of the milestones of experimental rock music."

"We Buy A Hammer For Daddy" was released by United Dairies in 1980, then re-released by Biter Of Thorpe in 1993.

Get it here : Lemon Kittens - We Buy A Hammer For Daddy

Lemon Kittens - The Big Dentist

From Allmusic.com : "With no "proper" musical skills upon their formation in Surrey, England, the Lemon Kittens epitomized the "anything goes" spirit of late-'70s post-punk in the U.K. Karl Blake, who cut his teeth in numerous outfits prior to the Lemon Kittens, started the band with Gary Thatcher and a revolving cast of others (which at one point included future Alternative TV leader Mark Perry), but at the time of the release of their first EP in 1979, the seven-song Spoonfed + Writhing 7", the group's lineup featured Blake, Thatcher, N. Mercer, Mylmus, and Danielle Dax. The group was whittled down to a duo of Blake and Dax by February of 1980; the other three members had fled, making for the group's 16th different lineup change since initialization in April 1978. Blake and Dax then decided to operate primarily as a duo, with help coming from whoever whenever they needed the assistance to perform. Later in 1980, Blake and Dax released We Buy a Hammer for Daddy on the United Dairies label (their labelmates included fellow oddballs and noise-mongers Whitehouse and Nurse With Wound), an album that featured the duo swapping a wide variety of instruments. The Cake Beast EP came out in February of 1981; Dax left after its release to begin a successful solo career, which Blake took part in sporadically throughout the '90s. In late 1982, the Illuminated LP Those That Bite the Hand That Feeds Them Must Sooner or Later Meet...the Big Dentist (best referred to as The Big Dentist) became the group's second full-length. Blake rounded up a new group of cronies, laid the Lemon Kittens to rest, and began the Shock Headed Peters."

"The Big Dentist" was released by Illuminated Records in 1982, then re-released by Biter Of Thorpe in 1994.

Get it here : Lemon Kittens - The Big Dentist


Akira Rabelais - Spellewauerynsherde

From Allmusic.com : "Track titles like "1382 Wyclif Gen. II. 7" and "Caxton Golden Leg. 208b/2" don't go hand in hand with sounds so quiet and moving. Putting his Argeiphontes Lyre software to use, Akira Rabelais shifts around and reassembles performances of traditional Icelandic a cappella lament songs, field recordings that date as far back as the early '60s. Some passages sound as if they were barely touched, while others twist and fold within pillows of wind. Some notes hit with deep resonance, while others sublimate into shadowy drones. Regardless of what processing Rabelais put them through, each sound floats through your ears like a whisper but sticks when it reaches your soul."

"Spellewauerynsherde" was released by Samadhisound in 2004.

Get it here : Akira Rabelais - Spellewauerynsherde

Akira Rabelais - ...Bénédiction, Draw

"...Bénédiction, Draw" was released by Orthlorng Musork in 2003.

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Akira Rabelais - invalidObject Series (void)

"invalidObject Series (void)" was released by Fällt in 2000.

Get it here : Akira Rabelais - invalidObject Series (void)

Akira Rabelais - Elongated Pentagonal Pyramid

From Allmusic.com : "In this computer music release of a very reduced and refined aesthetic, Ahira Rabelais works with very small sounds to create tranquil click-laden soundscapes. As this label is known for producing some of the more extreme diversions in post-electronic music, this CD sits well on the roster alongside Christophe Charles and Achim Wollscheid. While at times almost inaudible, the micro-sound modulations and active use of the stereo field bring to mind the pin-dropping sound of Bernhard Gunter. While the sounds are laced with the gritty pixelated textures of computer bit-crushing, Elongated Pentagonal Pyramid can be a somewhat stale and scientific listen. But, in an admirable fashion, the composer is restrained and never quite lets the computer take over, maintaining a patient and controlled method that keeps this far from being indulgent. Fans of both ambient and academic computer music will find the CD fascinating, a controlled and minimal sound world that remains compelling throughout."

"Elongated Pentagonal Pyramid" was released by Ritornell in 1999.

Get it here : Akira Rabelais - Elongated Pentagonal Pyramid

Akira Rabelais - Eisoptrophobia

From Allmusic.com : "An intellectual pioneer as much as anything else, Akira Rabelais issued forth musical creations and inventions from his perch at CalArts. Born and raised in South Texas, one of his childhood pastimes involved shooting metal plates with bb guns so that he could experience the unique sound that it caused. That fascination with sound, combined with a philosophical and literary bent (his favorite surreal and magical realist snippets of literature are on his website, www.akirarabelais.com) helped lay the path for the musical creations he has been issuing since 1990 -- he describes himself as a "composer writing software, not an engineer making music." The software that Rabelais made reference to in that quote, or at least the most famous among his inventions was the Argeïphontes Lyre. With functions like Eviscerator Reanimator, Time Domain Mutation, Morphological Disintegration, Verwechslung Kaffeetass and The Lobster Quadrille, the Lyre was a program that allowed the user to make a number of alterations to a piece of pre-recorded sound. The program quickly became a favorite of electronic music composers such as Terre Thaemitz and Scanner, who used it to create disorientating sound shifts. Rabelais' own cd, Elongated Pentagonal Pyramid (Ritornell, 1999) showed the stamp of the Lyre, with its multiple layers of gently wavering sound . Eisotrophobia followed in spring 2001."

"Eisoptrophobia" was released by Ritornell in 2001.

Get it here : Akira Rabelais - Eisoptrophobia


Merzbow / Achim Wollscheid - Eleven Live Collaborations

"Eleven Live Collaborations" was released by Selektion in 1992.

Get it here : Merzbow / Achim Wollscheid - Eleven Live Collaborations

Achim Wollscheid - 60 x X

"60 x X" was released by Ritornell in 2003.

Get it here : Achim Wollscheid - 60 x X

Achim Wollscheid - Shifts

"Shifts" was released by Ritornell in 2000.

Get it here : Achim Wollscheid - Shifts

Achim Wollscheid - Airs

"Airs" was released by Ritornell in 1999.

Get it here : Achim Wollscheid - Airs

Achim Wollscheid - Acts

From Discogs.com : "Achim Wollscheid is a media artist whose work over the past 20 years has been at the forefront of experimental music. He has performed and presented installation projects internationally. His work in sound has led to an interest in the relation between sound, light and architectural space, which he pursues through public, interactive and electronic projects. He is a founding member of SELEKTION, an organisation for the production and distribution of information systems. His book, The Terrorized Term, was published by SELEKTION in 1999. Today he still works as an artist for light and sound installations in Frankfurt/Main."

"Acts" was released by Selektion in 1999.

Get it here : Achim Wollscheid - Acts



Illusion Of Safety - Probe

From Discogs.com : "Since 1983 Illusion Of Safety has been the ongoing project of Daniel Burke, working alone and with various collaborators. They have released over 20 CDs on labels such as Complacency, Die Stadt, Experimedia, Odd Size, Silent, Soleilmoon, Staalplaat, Tesco, and Waystyx, and played over three hundred concerts in Europe and North America. IOS' work has been called ambient, post-industrial, electro-acoustic, noise, sound collage, improvisation, and power electronics, but they are unwilling to limit their work to any given style or method. The sonic character and affective substance of the music will often shift abruptly within each recording and live performance."

"Probe" was composed by Dan Burke and Jim O'Rourke.

"Probe" was released by Staalplaat in 1992.

Get it here : Illusion Of Safety - Probe

Illusion Of Safety - Graintext

From www.notype.com : "Exclusive EP from Illusion of Safety’s Dan Burke. A six-part composition that is at turns intricate movie-like granulation & alarming sound literature."

"Graintext" was released by No Type in 2001.

Get it here : Illusion Of Safety - Graintext

Illusion Of Safety - Water Seeks Its Own Level

From Allmusic.com : "Dan Burke formed the shadowy experimental/isolationist collective Illusion of Safety. He works with a loose lineup of eight people -- usually two to three per project -- and has released more than ten albums of ambient music, sparked by occasional flashes of industrial and thrash/funk. Burke also works as Fixated, Lilycrusher and Cubensis, and issues much material through his own Complacency label."

"Water Seeks Its Own Level" was released by Silent Reocrds in 1994.

Get it here : Illusion Of Safety - Water Seeks Its Own Level

Illusion Of Safety - Inside Agitator

From Allmusic.com : "Rhythmic sequencer-based pieces spiced with various samples, sound bites and found vocals. Interspersed with these are several low-key noise pieces. The best of the latter include "Wasteland," with its very dense layers of atmospheric droning noise, and the minimal 25-plus minute epic "Recognition," a sparse, menacing track that unfolds so slowly you're almost not aware it's happening."

"Inside Agitator" was released by Complacency in 1992.

Get it here : Illusion Of Safety - Inside Agitator


Meredith Monk - Dolmen Music

From Allmusic.com : "Meredith Monk has such a wonderful and unique vocal style that she is able to sing in complete abstraction (no known words or language for much of the album) yet maintain a very emotional and even sentimental quality in these abstractions, at times. Listeners who can get past just how unique and abstract her approach is will find immense joy and sadness deep within her pieces. On Dolmen Music, Monk wavers from being sad to the point of being quite morose (such as the tracks "Gotham Lullaby" and "The Tale") to being happy to the point of hysteria (as on "Traveling" and "Biography") without skipping a beat. Most of the musical accompaniment is minimalist (mainly piano with occasional, sparse percussion, guest vocalists also being prominent on the final six-part track "Dolmen Music"). This minimalist support only furthers Monk's vast vocal language as the prominent focus in the recordings. Listeners will also be very pleased to find that her wonderful voice is not crowded or overshadowed. A true original, Monk's work should be sought by anyone with an interest in vocal exploration."

"Dolmen Music" was released by ECM Records in 1981, then re-released by ECM New Series in 1994.

Get it here : Meredith Monk - Dolmen Music

Meredith Monk - Do You Be

From Allmusic.com : "This release features song excerpts from various long-form theater pieces, the first four coming from Meredith Monk's theater piece Acts From Under and Above, and these are the most jarring on the record. "Scared Song" features English lyrics, minimal accompaniment, and Monk singing harsh, abrasive "scared" sounds. Very unsettling -- and perhaps that is the intention. "Do You Be," a selection from her opera Vessel, features Monk solo on piano and voice with a shrill, piercing wail. Very satisfying. Additional selections from Vessel appear on Monk's 1992 recording Facing North. With one exception, the remaining tracks come from a Monk/Ping Chong science fiction epic opera called The Games, and these more diverse, more exploratory pieces really make the collection work as a recording. A casual listener unfamiliar with the theater pieces may well be put off by the abrasiveness of the first four tracks, which may unfortunately be enough to deter them from the remainder of the recording. But beyond some questionable programming choices, fans of her work will be delighted to see her continuing development as a recording artist."

"Do You Be" was released by ECM New Series in 1987.

Get it here : Meredith Monk - Do You Be

Meredith Monk - Our Lady Of Late

From Allmusic.com : "Singer, composer, filmmaker, and choreographer Meredith Monk is a pioneer in what is now called "extended vocal technique" and "interdisciplinary performance." Her early musical training included piano, some music theory, voice, and Dalcroze Eurythmics. The vocal arts have been an important part of her family's history: "I'm the fourth-generation singer in my family. I came from an Eastern European Jewish background, with my mom being a professional radio singer and jingle singer."

In 1964, Monk graduated from Sarah Lawrence College, where she studied composition with Ruth Lloyd and Glen Mack, voice with Vicki Starr, and vocal and chamber music with Meyer Kupferman; she also participated in opera workshops directed by Paul Ukena and Bessie Schoenberg. Dance was prominent in her studies as well. After college, Monk found herself neglecting her voice until one evening she sat at a piano and began vocalizing without words; she found the voice had "limitless colors and textures."

Between 1965 and 2010 she composed approximately 90 works, the apparent influences of which run the gamut of musical expression. "Bartók was someone I loved as a young woman, and also Stravinsky. And then I'm a person who loves music from the '20s and '30s, and there's a jazz singer that I love named Mildred Bailey." She also credits Janis Joplin and Joni Mitchell for providing her with meaningful examples of expressiveness. For Monk, linking her vocalizing to movement was a natural extension of the performance experience, "...doing the movement was a way of me finding my own territory, so to speak, of finding my own identity."

In 1968 Monk founded The House, a company dedicated to a interdisciplinary performance; ten years later she formed the Meredith Monk Vocal Ensemble to perform her vocal compositions. Most of her recordings are available on the ECM New Series. Monk's feature length film, Book of Days, aired on PBS, has appeared on international film festivals and was chosen for the 1991 Whitney Biennial. Her Atlas: an opera in three parts, which was commissioned by the Houston Grand Opera, The Walker Art Center, and The American Music Theater Festival, premiered in February 1991; a recording was released in January 1994.

A site-specific work, American Archeology #1: Roosevelt Island, was first performed in September 1994, and performances of Volcano Songs (a solo music/theater/dance work) were staged in New York City, the Portland Art Museum in Oregon, and Hancher Auditorium in Iowa City. Monk's 1998 musical theater piece, Magic Frequencies, toured the United States to critical acclaim; described as "a science-fiction chamber opera," this sparsely scored and sophisticated piece reveals Monk's lifelong fascination with, and investigation of, time travel and transformation. Carnegie Hall's Zankel Hall was the site of a celebration of 40 years of Monk's performing in 2005. Songs of Ascension, another work with site-specific origins, was written in 2008 and released in 2011.

Monk has received numerous awards, including two Guggenheim Fellowships, a Brandeis Creative Arts Award, three Obies (including an award for Sustained Achievement), two Villager Awards, a Bessie for ASCAP Awards for Musical Composition, and the 1992 Dance Magazine Award. In 1995, Monk won a MacArthur "Genius" Award, and was inducted into the American Academy of Arts & Sciences in 2006. Her 1991 film, Ellis Island, won the CINE Golden Eagle Award. Alan Kriegsman of the Washington Post, writes, "When the time comes, perhaps a hundred years from now, to tally up achievements in the performing arts during the last third of the [20th] century, one name that seems sure to loom large is that of Meredith Monk. In originality, in scope, in depth, there are few to rival her."

"Our Lady Of Late" was released by Minona Records in 1973, then re-released by Wergo in 1988.

Get it here : Meredith Monk - Our Lady Of Late


Ghedalia Tazartes - Jeanne

Most of the tracks have been created for the theater play "Jeanne" produced in 2006 by the Pardès Rimonim company.

"Jeanne" was released by Vand'Oeuvre in 2007.

Get it here : Ghedalia Tazartes - Jeanne

Ghedalia Tazartes - Hystérie Off Music

"Hystérie Off Music" was released by Jardin Au Fou in 2007.

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Ghedalia Tazartes - Une Éclipse Totale De Soleil

"Une Éclipse Totale De Soleil" was released by Celluloid in 1984, then re-released by Alga Marghen in 1996.

Get it here : Ghedalia Tazartes - Une Éclipse Totale De Soleil

Ghedalia Tazartes - Tazartès' Transports

"Tazartès' Transports" was released by Cobalt in 1980, then re-released by Alga Marghen in 1997.

Get it here : Ghedalia Tazartes - Tazartès' Transports

Ghedalia Tazartes - Diasporas / Tazartès

The track "Quasimodo Tango" on "Diasporas" was composed by Michel Chion.

"Diasporas" was released by Cobalt in 1979.
"Tazartès" was released by Ayaa in 1987.
"Diasporas / Tazartès" was released by Alga Marghen in 2004.

Get it here : Ghedalia Tazartes - Diasporas / Tazartès


Einstürzende Neubauten - Nag Nag Nag / Wüste (Ballet Version) [3" CD]

Released together with a book containing lyrics, biography, interviews and discography of Einstürzende Neubauten.

Track 1 unavailable anywhere else. Track 2 is listed as "Wüste (Ballet Version)", but this includes "Batman brät Fische ("Instrumental Version" by FM Einheit which appears in a version with vocal-recording on his "Stein" album). 

"Nag Nag Nag / Wüste (Ballet Version)" was released by Stampa Alternativa in 1993.

Get it here : Einstürzende Neubauten - Nag Nag Nag / Wüste (Ballet Version)

Genesis P-Orridge with The Hafler Trio - Alaura / Slave Priest [3" CD]

This CD accompanied the book "Psychic TV : A Coumprehensive Collection Of Lyrics 1981-90" by Vittore Baroni.

Both tracks were recorded in Amsterdam (September 1990) by Genesis P-Orridge with The Hafler Trio, specially for this project. The only sound source that was used is the voice of G.P-Orridge. The two tracks were written by G.P-Orridge.

"Alaura / Slave Priest" was released by Stampa Alternativa in 1990.

Get it here : Genesis P-Orridge with The Hafler Trio - Alaura / Slave Priest


Jim O'Rourke - Terminal Pharmacy

From Allmusic.com : "With Terminal Pharmacy, Jim O'Rourke creates a soundscape so calm and minimal that some people, lacking patience for the seeming formlessness, could do entirely without it, while others will find themselves repeatedly putting it in their CD player at home, work, or wherever they need warmth dispersed throughout the air. Seeping steadily from the edge of silence comes crackles, thin fuzz, and extended string tones. Less narrative than what "electro-acoustic" usually refers to, "Cede" hums at the back of your mind. Given almost a minute of silence in between, the second piece then begins; sounding like a very quiet improvisation, the instruments whisper bowed rounds, a conversation in tininess that grows bolder at moments."

"Terminal Pharmacy" was released by Tzadik in 1995.

Get it here : Jim O'Rourke - Terminal Pharmacy

Jim O'Rourke - Tamper

From Allmusic.com : "Originally released by Extreme in 1991, Tamper acts as an important part of Jim O'Rourke's discography, as it's one of the first of his electro-acoustic works. Surprisingly, it is also the most accessible of his pre-Bad Timing solo albums, although it is a bit challenging at the same time. For example, the first track on Tamper is a difficult, yet rewarding piece. It demands complete attention from the listener, as it starts with a barely audible oscillator, only later bringing the actual instruments slowly in. The bottom line of Tamper -- and the bottle-neck to understanding it -- is that the sounds of these instruments (apart from some occasional oboes) are manipulated so that they hardly can be recognized. This is an old and now-exhaustive trick in O'Rourke's field of work, but on Tamper he has found a very idiosyncratic way of defining traditional instruments. Tamper works well on so many different levels that it can be recommended to any open-minded listener at all -- no matter if you prefer rock or avant-garde."

"Tamper" was released by Extreme in 1991.

Get it here : Jim O'Rourke - Tamper

Jim O'Rourke - Remove The Need

From Allmusic.com : "American post-classical composer Jim O'Rourke has been a key component in the increasing overlap of the American and European experimental music avant-garde, working in everything from jazz and rock to ambient and electro-acoustic and building many a bridge in between. A Chicago native, his work has found equal luck with experimental jazz and noise fanatics, chill room denizens, and bedroom experimentalists, and has had the resultant effect of cross-pollinating many otherwise isolated compositional communities. Dealing most often with prepared guitar in improvisational group settings, O'Rourke has also released a fair bit of material as a soloist, although more often in the electro-acoustic/musique concrète vein. He's collaborated with such contemporary improv heroes as Derek Bailey, Henry Kaiser, Eddie Prevost and Keith Rowe (of English improv group AMM), KK Null, David Jackman (Organum), and early Krautrock experimentalists Faust. O'Rourke is also engaged in an ongoing exploration of experimental rock as a member of Gastr del Sol, who've released albums through the Teen Beat and Table of the Elements labels. Beginning with guitar at the age of 6, it wasn't until his collegiate career at DePaul University that O'Rourke's interest in the less obvious possibilities of the instrument led him through the early catalogs of the post-classical and electro-acoustic traditions. While at DePaul, O'Rourke completed much of the work that would constitute his first few releases. He also had the opportunity to meet up with noted improvisational guitarist Derek Bailey, whose invitation to O'Rourke to play at the British improv festival Company Week led to further collaborative projects with Bailey, Henry Kaiser, Eddie Prevost, and David Jackman. O'Rourke began working with Dan Burke's Illusion of Safety project in the early '90s, releasing three albums through Staalplaat and Tesco, before moving on to form experimental "rock" group Gastr Del Sol with David Grubbs. Although focusing more on collaboration after a string of solo releases in the early '90s, O'Rourke has shifted back to solo work of late, releasing Terminal Pharmacy through John Zorn's Tzadik label and completing commissioned pieces for the Kronos Quartet and the Rova Saxophone Quartet. In 1995, O'Rourke was invited by German experimental electronic label Mille Plateaux (Oval, Steel, Microstoria) to conduct an extended remix of their entire back catalog. He also produced and co-wrote a good portion of innovative German outfit Faust's Table of the Elements release, Rien. Subsequent releases include 1997's acclaimed Bad Timing and its equally brilliant follow-up, 1999's Eureka."

"Remove The Need" was released by Extreme in 1993.

Get it here : Jim O'Rourke - Remove The Need

Limpe Fuchs - Muusiccia (Metal/Stones)

Limpe Fuchs was a member of the avantgarde group Anima.

"Muusiccia (Metal/Stones)" was released by Streamline in 1993.

Get it here : Limpe Fuchs - Muusiccia (Metal/Stones)

Entrave Et Etouffement [2 x 10"]

Side A :
1. Systematics - Vanessa Teratology
2. Systematics - Bovine
3. Systematics - 2.4.5.T
4. Systematics - When I'm Older
5. Systematics - Mmmm   

Side B :
1. EST - Ain't Just True
2. EST - Yvonne Is Out Again
3. EST - Red TV

Side C :
1. Scattered Order - I'm Not Whole
2. Scattered Order - Mass Murder
3. Scattered Order - Bent Up   
4. Splendid Mess - Nasa Secret Ansac

Side D :
1. The Limp - Pony Club
2. Negative Reaction - Land Of Surrender
3. Pel Mel - Click Click
4. Severed Heads - Lambourgini

"Entrave Et Etouffement" was released by L'Invitation Au Suicide in 1982.

Get it here : Entrave Et Etouffement

Severed Heads - Gashing The Old Mae West - 12"

Side A :
1. Gashing The Old Mae West (Marathon Mix)

Side B :
1. A Relic Of The Empire
2. A Million Angels
3. Blast Patter

"Gashing The Old Mae West" was released by Ink Records in 1986.

Get it here : Severed Heads - Gashing The Old Mae West

Severed Heads - Clifford Darling, Please Don't Live in the Past [2 x LP]

From Allmusic.com : "This double LP, a collection of the earliest Severed Heads recordings from 1979 to 1983, shows them at their most experimental, using a heavy dose of electronics, tape loops, and effects and aligning themselves closely to early industrial groups like Throbbing Gristle and especially Cabaret Voltaire. There are prototypical electro-pop pieces like "Day in the Country," "Power Circles," and "J. Edgar Hoover," with primitive rhythm machine beats and cut-up spoken word that hint at later albums, as well as odd tape cut ups like "Advertisement," collage works, and some industrial noise works, including "Nightsong" and the irritating "Dance," which consists of migraine-inducing distorted synth tones repeated over and over. Fortunately, most of the other material is far more interesting than "Dance." The above-mentioned "Power Circles" evokes a certain old European elegance, while "Saturday Night" chops up an old Judy Garland-type song into a piece of wonderful looped plunderphonics that seamlessly segues into "Man Dat Hip," with more wild looping of pre-World War II jazz music. These tracks set the tone as the rest of side three continues with a further collage of loops of everything from various world musics to found-sound spoken word. Side four strays further into experimental realms with an early take on Since the Accident's "A Relic of the Empire," as well as "Tiny Fingers," where an ambient texture is created from tinkly keyboard notes, and the warped turntable collage of "Play It Again." Though grittier and more lo-fi than the later stuff, Clifford Darling has some of the Severed Heads' most creative work."

Side A :
01. Advertisement
02. Prototype Pop
03. Exiles Excerpt
04. A Day In The Country
05. Elephant Decibels
06. Power Circles

Side B :
01. Alaskan Polar Bear Heater
02. Umbrella
03. J. Edgar Hoover
04. Blame
05. Meanwhile, Back At Exiles...
06. Dance

Side C :
01. Saturday Night
02. Man Dat Hip
03. An American In Paris
04. Tarzan's Grip
05. That That Revolves
06. Special Day

Side D :
01. Malt Duck
02. Never Fall In Love
03. Nazi Beach Party
04. A Relic Of The Empire No. 2
05. Tiny Fingers
06. Sydney Quads & The Megascope Space Probe
07. Play It Again
08. Carry My Books
09. Nightsong
10. Car Ad

"Clifford Darling, Please Don't Live in the Past" was released by Ink Records in 1985.

Get it here : Severed Heads - Clifford Darling, Please Don't Live in the Past

Severed Heads - Since The Accident

From Allmusic.com : "The first Severed Heads album as part of an actual contract isn't quite a crossover effort; yes, "A Million Angels" and the single "Dead Eyes Opened" are surprisingly melodic synth-pop, though the sampled spoken word material on the latter does the title justice. Much of the album, however, includes avant tape experiments like "A Relic of the Empire," "Brassiere, in Rome," and "Alaskan Polar Bear Heater," merging the voices of an American middle-class everyman with an opera singer."

"Since The Accident" was released by Ink Records in 1983, then re-released by Nettwerk and Volition in 1989.

Get it here : Severed Heads - Since The Accident

Severed Heads - City Slab Horror

From Allmusic.com : "Their most varied, interesting work, City Slab Horror includes stark synthesizer workouts, several tracks of pure rhythm and noise, and, thankfully, little of the unambitious tape music for its own sake of Since the Accident. "Cyflea, Rated R," "4.W.D.," and the title track provide several examples of the best experimental synthesizer tracks of the mid-'80s."

"City Slab Horror" was released by Ink Records in 1985, then re-released by Nettwerk and Volition in 1989.

Get it here : Severed Heads - City Slab Horror

Severed Heads - Gashing / Kato

"Gashing / Kato" was released by Sevcom in 2001.

Get it here : Severed Heads - Gashing / Kato

Severed Heads - Blubberknife

"Blubberknife" was released by Terse Tapes in 1982, then re-released by Sevcom in 2002.

Get it here : Severed Heads - Blubberknife

Severed Heads - Ear Bitten

From Allmusic.com : "Severed Heads were one of the pioneering acts on Australia's alternative music scene, a group whose work embraced elements of industrial, synth pop, electronic, and experimental music, with found sounds, tape loops, samples, and full-on noise playing as large a role in their music as any conventional instruments. Eclectic and stubbornly refusing to confine themselves to any single genre, Severed Heads evolved constantly from their debut in 1979 to their final retirement in 2008, as they used a wide variety of formats to distribute their prolific output (from vinyl and cassettes to VHS, CD-ROMs, CD-Rs, MP3 downloads, and even the short-lived MP2 format before MP3s became common), while 20 musicians drifted in and out of their recording and performing lineups, with Tom Ellard the sole constant (though he's bristled at suggestions that the group is exclusively his brainchild).

Severed Heads' story begins with two Sydney-based musicians, Richard Fielding and Andrew Wright, who had formed an experimental combo called Mr. and Mrs. No Smoking Sign. After Tom Ellard signed on and they became a trio, the combo recorded its first cassette-only release. When they sent a demo tape to Sydney's 2JJ Radio, they used the group name Severed Heads, as one of the disc jockeys was interested in early industrial acts such as Throbbing Gristle; while the name was meant more as a joke than anything else, the demo received enough airplay for the name to stick. By 1980, Wright had left the band and Severed Heads made their vinyl debut on a split LP called Ear Bitten, with one side featuring Severed Heads and another Aussie act, Rythmyx Chymx, on the flip side. Released in 1981, Clean was recorded as Fielding parted ways with Severed Heads; their music became more melodic and accessible as they embraced more conventional song structures, and new member Garry Bradbury encouraged Ellard and his collaborators to move their live performances from experimental venues and art spaces to rock clubs, which were better equipped for concerts and drew audiences who would be challenged by what they heard.

Frustrated with the expense and limitations of releasing music on vinyl, Severed Heads' 1983 album Since the Accident was initially released as a 60-minute cassette; to fill out the lineup, Ellard added the song "Dead Eyes Opened" to the end of the running order. As luck would have it, the tune was catchy enough that Severed Heads scored record deals with Ink Records (distributed by Virgin) in the U.K. and Virgin Records' new Australian branch at home, and the tune became a minor hit. Severed Heads' live shows were also becoming more ambitious, as Ellard began collaborating with video artist Stephen Jones, who created a new video synthesizer that created stylized backdrops for Severed Heads' performances. And Ellard also began creating information booklets for the band's releases, detailing how they were recorded and what source materials were used; when they weren't included with the albums, Ellard was willing to mail them to fans who sent in requests along with stamped return envelopes.

In 1984, as the City Slab Horror album was awaiting release, Bradbury left the group, and Ellard was the group's principle songwriter from that point on. Severed Heads were invited to tour the U.K., and Ellard chose to tour as a duo -- he performed all the music, and Jones provided video images. During the U.K. tour, Severed Heads signed a North American deal with Nettwerk Records, and as Ellard's relationship with Virgin Australia was deteriorating, they entered an agreement with Volition Records. The group became more visible, and Ellard began exploring the possibilities of digital sampling and new recording technologies (their early albums were tracked at home on four-track cassette machines) while his vocals played a larger role as the group took on a larger lineup for live shows, which became more sophisticated as Jones kept pace with advancing video technology. Severed Heads continued to record and tour at a steady pace, and in 1989 they enjoyed a U.S. alternative hit with "Greater Reward" from the album Rotund for Success. However, while the group had a solid commercial profile and still made video a major part of its presentation after Jones left the group in 1992, Ellard became increasingly dissatisfied with the strictures of the mainstream music business, and Severed Heads ended their deal with Nettwerk, leaving the 1994 album Gigapus unreleased in North America until 1996. By this time, "Dead Eyes Opened" had gained new life in Australia thanks to a remix by Robert Racic, and the new release went Top 40 at home as Severed Heads became regular fixtures in the Boiler Room, the dance-oriented stage at the Australian Big Day Out touring festival. But Volition Records began experiencing financial problems in 1996, and Ellard chose to find a new label in his homeland.

Severed Heads began documenting their multimedia work on CD-ROM releases in 1994, and were one of the first Australian bands with a presence on the Internet (the group included an e-mail contact address on the Gigapus artwork so fans could directly communicate with the group). As new media gained acceptance, Ellard embraced it with enthusiasm, as it allowed Severed Heads to operate with greater independence. He created Sevcom Music Servers as the band's new label, and from the 1998 album Haul Ass onward, new releases were issued as CD-Rs (and later MP3s) by SMS. In 1996 Ellard issued Severything, a single-disc collection that featured nearly the complete Severed Heads catalog compressed onto one disc using the new MPEG 1, layer 2 format; it was the first in a long series of archival releases self-replicated from the Severed Heads archives. The Aussie label LTM Records reissued Rotund for Success in 2004 and began partnering with Severed Heads for selected catalog reissues and anthologies, and in 2005 Severed Heads scored the film The Illustrated Family Doctor, which earned an award as Best Film Soundtrack of the year from the Australian Recording Industry Association. Ellard finally brought the Severed Heads story to a close in 2008; according to their official website, "It was euthanised...as it no longer brought happiness." The Sevcom website, however, is still active and provides information on Severed Heads as well as CD-R releases of their back catalog."

"Ear Bitten" was released by Terse Tapes in 1980, then re-released by Sevcom in 1999.

Get it here : Severed Heads - Ear Bitten

Merzbow - Cloud Cock OO Grand

From Allmusic.com : "There is no need to argue: Merzbow stands as the most important artist in noise music. The favorite moniker of Japanese Masami Akita appears on hundreds of albums. The name comes from German artist Kurt Schwitters' famous work Merzbau, which he also called The Cathedral of Erotic Misery. Akita's choice reflects his fondness for junk art (through Schwitters' collage method) and his fascination with ritualized eroticism, namely in the form of fetishism and bondage. All these elements constitute the Merzbow persona.

Akita was born in Tokyo in 1956. He grew up with psychedelic rock and began to play the guitar in progressive rock cover bands, in particular with drummer Kiyoshi Mizutani, who would remain a frequent collaborator. After high school, Akita studied literature and visual arts in college. There he discovered free jazz and studied seriously the ideas of Dada and the surrealists (Salvador Dali remained a big influence). Akita gradually withdrew himself from the rock scene and began experimenting in his basement with broken tape recorders and feedback.

In 1979, Akita created his own cassette label, Lowest Arts & Music, and released the first of many albums, Metal Acoustic Music. Infiltrating the then-burgeoning network of underground industrial music, Merzbow lined up one cassette after another, packaged in Xeroxed collage art. His harsh noise eschewed the primitive anger found on this scene (Throbbing Gristle, Man Is the Bastard) to reach a Zen state, calm inside the storm. Mizutani occasionally appeared on some of the raw material, as would other musicians (like Reiko.A), but in essence Merzbow is Akita and would always be. The artist/group made low-budget live appearances in Tokyo, but his main focus remained on his art production and his writing (he is erudite in 20th century art and the Japanese tradition of bondage).

In 1983, Akita's first LP, Material Action 2 (NAM), was released on Chaos/Eastern Works in Japan. Out of the mail-art network and into the specialty record shops, Merzbow began to attract some eyes and ears. Akita started a second label, ZSF Produkt, which put out dozens of 7"s, EPs, LPs, and more cassettes. By the late '80s, other record labels had begun to pay interest, namely the Australian Extreme. Collaborative (1988), an LP recorded with Achim Wollscheid, brought the Merzbow sound to more international listeners, and slowly Akita invaded other territories. By the mid-'90s, his reputation verged on the mythical. He toured Europe and the U.S., and had high(er)-profile releases on Extreme, RRR, and Alchemy.

In 1997, Extreme announced it was putting in production a 50-CD box set, Merzbox. It was finally released three years later. It includes 30 reissues dating as far back as 1979, and 20 discs' worth of unreleased material, and remains the biggest musical statement in the history of noise music. More widely available albums for Alien8 Recordings (Aqua Necromancer, 1998) and Tzadik (1930, 1998), combined with constant worldwide touring, have taken the artist out of mythical status and propelled him into the legendary. In the late '90s, Akita started to collaborate with other artists outside the Merzbow moniker, namely with Mike Patton (as Maldoror) and Otomo Yoshihide. Both a prolific composer and performer, Akita continued his string of Merzbow releases into the next century, including Frog (2001), V (2003), Merzbird (2004), the two-volume set Minazo (2006), Merzbear and Synth Destruction (2007), Dolphin Sonar (2008), and the multi-volume 13 Japanese Birds series issued monthly between January 2009 and January 2010. He followed this massive undertaking with Another Merzbow Records, released by the U.K's Dirtier Promotions imprint in April of 2010."

"Cloud Cock OO Grand" was released by ZSF Produkt in 1990.

Get it here : Merzbow - Cloud Cock OO Grand


Restgeraeusch - 2x30 Min. 30 Sec.

"2x30 Min. 30 Sec." was released by Mille Plateaux in 1997.

Get it here : Restgeraeusch - 2x30 Min. 30 Sec.

Restgeraeusch - 1h/1min

"1h/1min" was released by Mille Plateaux in 1996.

Get it here : Restgeraeusch - 1h/1min

Towering Inferno - Kaddish

From Allmusic.com : "Towering Inferno's Kaddish has slowly gathered acclaim as one of the most interesting rock-influenced experimental recordings of the mid-'90s; Brian Eno, for instance, has referred to it as the most frightening record he's ever heard. Towering Inferno are the British duo of Richard Wolfson and Andy Saunders, who are principally responsible for the composition of Kaddish (with some additional material from other sources), and also for much of the programming, keyboards, and guitars. British prog-rock vets Elton Dean and John Marshall (ex-Soft Machine) and Chris Cutler, as well as Hungarian folk singer Marta Sebestyen, also add important contributions to this 75-minute concept album of sorts, inspired by the horrors of the Holocaust. Rabbinical chants, hard rock/heavy metal guitar, ambient synthesizer, and Eastern European folk singing are all elements of an ambitious palette which gets its disturbing message across without sounding pedantic. Wolfson and Saunders have presented Kaddish as a mixed-media performance as well; originally released in 1994, it was picked up by Island for larger distribution, and issued in the U.S. in 1996. Wolfson and Saunders have something quite different in mind for their next project, which they described in the British magazine Record Collector as "a light-hearted, fun, post-rave kind of B-movie affair."

"Kaddish" was released by TI Records in 1993.

Get it here : Towering Inferno - Kaddish

Decoder - The Movie

"Hamburg, 1983. F.M. is a youngster leading an idle urban life, totally alienated from his environment, and only active when making “sound experiments” in his home studio. Christiana, his girlfriend, works in a peepshow on Reeperbahn. A chronically depressed customer is infatuated by her and tries to get more closely acquainted. The relationship between F.M. and Christiana is cool and distant, except for the moments at breakfast, when they share the muddled visions of their dreams.

One day F.M. suddenly wakes up to the surrounding reality, as he notices how the inconspicuous background music at a hamburger joint may have some connection with the junk food. It dawns on him that muzak is designed to control and brainwash the masses, not unlike lobotomy. On top of its paralysing effects, muzak is also laced with subliminal messages. F.M. decides to go back to the bar and records the muzak for his own purposes. He starts to develop a form of “anti-muzak” in his studio, by playing the original material backwards, or at a wrong speed, or by mixing it with interfering factors like sounds of street riots or squealing frogs."

The movie is in German language with hardcoded English subtitles.

"Decoder" was directed by Klaus Maeck and produced in 1984.

Get the video here :

Thanks are due to the original poster.


Tracklisting :
01. Dave Ball & Genesis P. Orridge - Muzak For Frogs
02. Matt Johnson (The The) - Three Orange Kisses From Kazan
03. Dave Ball & Genesis P. Orridge - Dream
04. Dave Ball & Genesis P. Orridge - Main Theme "Showdown"
05. Dave Ball & Genesis P. Orridge - Sex & The Married Frog
06. F.M. Einheit & Jon Caffery - Riots
07. Genesis P. Orridge - Information
08. Jon Caffery / F.M. Einheit / Alexander von Borsig - Muzak Decoding - Dreamachine - Pirates
09. Einstürzende Neubauten - Compressed Metal
10. Dave Ball & Genesis P. Orridge - Main Theme "Finale"

"Decoder" was released by What's So Funny About in 1985, then re-released in 1992.

Get it here : Decoder

Cabaret Voltaire - 1974-1976

From the liner notes : "This cassette is a selection of material recorded by Cabaret Voltaire during their earlier and formative years of existence. All of the recordings were done in an attic 10 feet by 6 feet, on a domestic reel to reel tape recorder. A number of the recordings here were part of those which made up the now legendary Limited Edition cassette released by Cabaret Voltaire in 1976. Happy Listening."

"1974-1976" was released by Industrial Records in 1980, then re-released by The Grey Area in 1992.

Get it here : Cabaret Voltaire - 1974-1976

The Industrial Records Story

Side A :
1. Throbbing Gristle - We Hate You (Little Girls)
2. Monte Cazazza - To Mom On Mother's Day
3. The Leather Nun - Slow Death
4. Robert Rental & Thomas Leer - Day Breaks, Night Heals
5. SPK - Mekano
6. Cabaret Voltaire - Sunday Night In Biot

Side B :
1. Elisabeth Welch - Stormy Weather
2. Clock DVA - Silent
3. Dorothy - I Confess
4. Throbbing Gristle - Distant Dreams (Part Two)
5. William S. Burroughs - Nothing Here Now...

"The Industrial Records Story" was released by Illuminated Records in 1984.

Get it here : The Industrial Records Story