Agencement - Viosphere

From Discogs.com : "Hideaki Shimada was born in 1962 in Kanazawa, Japan. He has been involved in violin improvisation since 1980. In 1985 he started the solo project Agencement, in which he creates multi-layered violin improvisations and records them on magnetic tape. In his live performances he uses amplified violin and electronic equipment."

"Viosphere" was released by Pico in 1991.

Get it here : Agencement - Viosphere

Thomas Dimuzio - Louden

From Discogs.com : "Thomas Dimuzio is one of unsung artistic figures whose influence and abilities have substantially outstripped his visibility. Composer, multi-instrumentalist, sound designer, experimental electronic musician and recording studio owner, Dimuzio has been busy doing his thing(s) since the late 1980s with critically acclaimed releases issued by the legendary house of audio misanthropy, RRRecords and former Henry Cow drummer (and current Dimuzio collaborator) Chris Cutler’s well-regarded ReR Megacorp label. Equally fluent in a nearly every contemporary post-techno style, Dimuzio’s work clearly demonstrates an insider’s knowledge of older experimental musical forms such as musique concrète and electroacoustic, as well as contemporary ambient-industrial and noise. Thomas Dimuzio has performed and recorded as a solo artist and collaboratively with Fred Frith, David Lee Myers, Dan Burke, Due Process, 5UU'S, Matmos, Wobbly, and many others."

"Louden" was released by Odd Size in 1997.

Get it here : Thomas Dimuzio - Louden

Thomas Dimuzio - Markoff Process

From Allmusic.com : "San Francisco-based Dimuzio is one of those unsung artistic figures whose influence and abilities have substantially outstripped his visibility. Composer, multi-instrumentalist, sound designer, experimental electronic musician, sideman and recording studio owner-Dimuzio has been busy doing his thing(s) since the late 1980's, but is still only known to a small circle of electronic music enthusiasts. A true sonic alchemist who can seemingly create music events out of almost anything, Dimuzio's listed sound sources on his various CDs include everything from "modified 10 speed bicycle" and "resonating water pipe" to short-wave radios, loops, samplers and even normal instruments such as clarinet and trumpet. And while his wide range of musical interests make it impossible to pin a label on him, Dimuzio clearly has an insider's knowledge of older experimental musical forms such as musique concrete and electroacoustic, and well as more current ambient industrial styles as promoted by artists/groups such as Lustmord, Lull and Main. In his work as sound designer, Dimuzio has worked with a number of synthesizer manufacturers such as Kurzweil, Lexicon and OSC to create custom presents, and he has collaborated with Fred Frith, Tom Cora and the ROVA Saxophone Quartet to create sound libraries for Rarefaction. He has contributed to numerous artists and ensembles, such as 5uu, Chris Cutler, C.W. Vrtacek, Fred Frith and Paul Haslinger, and has toured North American and Europe as a solo act. His solo CD releases include 1997's double CD Sonicism, the recently remastered and reissued HEADLOCK, and Markoff Process, from 1994."

"Markoff Process" was released by RRR in 1994.

Get it here : Thomas Dimuzio - Markoff Process

Thomas Dimuzio - Headlock

From Allmusic.com : "Originally released in 1989 on David Prescott's very small U.S. independent Generations Unlimited label, this CD is much more than the standard backward look at the early, formative work of a mature artist. Indeed, this is already a mature work, even though it came early in Dimuzio's professional career. The ten pieces in the program more or less run into (and out of) each other, but entirely different effects can be achieved by activating the random play button on your CD player, and altering the dynamic interactions of selections. The opening track, "Inherent Power and the Space Between," begins with the slow acceleration of what sounds like a race car engine (actually a treated bicycle), and then morphs into Hell's own Grand Prix, before evolving into the vaguely noise-rock "Shank Thesis," where unearthly howls and squeals are supported by almost funky percussive patterns. This piece ends with mysteriously interrupted static bursts, first quiet enough to be almost subliminal, growing into a full symphony of noise, and then trailing off into a urban tapestry of sirens, automobile and train horns, voices and radio broadcasts. This long track finally gives way to various other pieces with other combinations of real and processed sound -- Dimuzio's bag of tricks seems almost inexhaustible, and there's little or no recycling of sounds or techniques along the way. Those listeners who are put on edge by the intensity of the opening material will be pleasantly surprised by the later appearance of the elegant and mournful "Sallow," which sounds like a chorus of large aquatic mammals involved in a ritualized grieving ceremony for a lost comrade. Many other treats await the receptive listener, as Dimuzio alternatively highlights nervous, fragmented jumpcuts of sampled sounds, and then sinister industrial drones in the style of Lustmord or Lull, and even evokes some splendidly Enoesque ambience on "Detach," which sounds like the processed tolling of large church bells. It's all here, folks -- just about every sonic treatment and effect known to man, or so it seems."

"Headlock" was released by Generations Unlimited in 1989, then re-released by ReR Megacorp in 1998.

Get it here : Thomas Dimuzio - Headlock

P16.D4 - Three Projects

From Discogs.com : "P16.D4 was a German band whose music bordered on the industrial and on the cacophonous. On their debut album "Kühe In 1/2 Trauer" (Selektion, 1982) they managed to fuse the playful irrationality of dadaism and the oppressive tones of expressionism. Roger Schönauer and Ewald Weber focused on an austere art and technique of loop and tape manipulation. Stefan E. Schmidt joined the ensemble on Distruct (Selektion,1995), a deconstructed remix of sound sources provided by friends in the industrial scene. The double album Nichts Niemand Nirgends Nie (1985) delved into musique concrete and electronic improvisation. Tionchor (Sonoris, 1987) collects revised rarities."

The three projects all were recorded in 1987. They originally were released on :
- "Bruitiste", RRR, 1988
- "Captured Music", Selektion, 1989
- "Fifty", RRR, 1990

"Three Projects" was released by RRR in 1993.

Get it here : P16.D4 - Three Projects

P16.D4 - Distruct

From Allmusic.com : "On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began -- an interesting concept that actually works quite well, since these artists -- which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others -- work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4's own peculiar brand of avant-garde post-industrialism, but merely give it another facet. One of the best tracks, "Aufmarsch, Heimlich," consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4's best albums."

"Distruct" was released by Selektion in 1984, then re-released by Odd Size in 1994.

Get it here : P16.D4 - Distruct

P16.D4 - Kühe In 1/2 Trauer

From Allmusic.com : "Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to Nurse With Wound, :zoviet*France, and other post-industrial artists working with abstract avant-garde soundscapes. There's a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further. The opening track, "Default Value," is one of those disorienting pieces with noises flying everywhere, while "Paris Morgue" takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release."

"Kühe In 1/2 Trauer" was released by Selektion in 1984, then re-released by Odd Size in 1994.

Get it here : P16.D4 - Kühe In 1/2 Trauer

John Watermann - Babel #1

Another classic album from John Watermann.

"Babel #1" was released by Stille Andacht (a division of Dark Vinyl) in 1993.

Get it here : John Watermann - Babel #1

Michiko Kusaki - Don't Do That

From www.last.fm : "Anne Laplantine (aka Michiko Kusaki), a native Frenchwoman who lives in Paris, belongs to the rare species of musicians who speak a unique musical language. We even venture to claim that it’s a new language in the field of electronic pop music. Concerning structure and composition, Anne Laplantine’s music owes more to the baroque fugue than to the track-format. In addition to that, her sound is also very un-electronic, because Laplantine uses all kinds of acoustic instruments as sources for her sounds: flute, guitar, bass, glockenspiel and melodica to name but a few."

"Don't Do That" was released by Hiao Hiao Hiao in 2001.

Get it here : Michiko Kusaki - Don't Do That

DDAA - Nouveaux Bouinages Sonores (Dans La Période)

From Allmusic.com : "This obscure group of radical experimental noise makers used improvisation and collage to craft strange sounds and deconstructed songs for highly creative music that is as far off the path of conventions as that of similar but more known visionaries like the Residents and Nurse With Wound. In fact, DDAA roughly began the same time as NWW in the late '70s, started by three visual artists, Sylvie Martineau, Jean-Philippe Fee, and Jean-Luc Andre in Lion sur Mer, France. The multi-talented trio originally formed Illusion Productions to create plastic sculpture and other various artistic pursuits and DDAA became the musical arm of Illusion. Déficits des Années Antérieures, their full name, translates roughly in English as "last year's deficit," though perhaps more appropriate is the fact that their initials are an anagram of Dada, that pre-Surrealism art movement at the time of World War I. As none of the three were trained musicians, their music had a distinct naïve quality of outsider art and with few noticeable influences, exists on a plane of its own. Like others whose music is too uncompromisingly different to become commercial, DDAA began releasing recordings under the umbrella of Illusion Productions, starting with a 7" 45, Miss Vandam, in 1979. Research into various traditional ethnic music resulted in the EP Adventures in Africa in 1981 and the LP Action & Japanese Demonstration the next year, with hand-painted covers and elaborate packaging and inserts. Bernard C joined the lineup to play on the 1984 album Les Ambulants and continued on and off with them until the early '90s. Throughout the '80s and '90s, the group continued to put out records and tapes, as well as perform, and even exhibit artwork in various galleries in Paris and Nice. Starting with the 1992 CD Nouveaux Bouinages Sonores (Dans la Période), DDAA has further enhanced its pursuit of strange sounds with the invention of an imaginary culture, the Maracayace, a theme explored more fully on the three-CD Baggersee and the full-length La Conference Maracayace, as well as live shows. DDAA continues to forge on in the new millennium with its highly creative artistic vision."

 "Nouveaux Bouinages Sonores (Dans La Période)" was released by Front De L'Est in 1992.

Get it here : DDAA - Nouveaux Bouinages Sonores (Dans La Période)

Ios Smolders - Music For CD-Player

From Discogs.com : "Jos Smolders (Deurne, The Netherlands, October 20th, 1960) studied architecture at the Delft Technical University but quit and continued the musical tape experiments of his childhood. He started musicological studies of electronic and recorded music, then he was six years co-editor of Vital Magazine. Active in the underground electronic scene, founding member of the renowned Dutch electroacoustic ensemble THU20, he released his own music on cassette, LP and CD. He now works as a sound designer and composer in Tilburg (The Netherlands). He is the founder of the online magazine and mp3 label Earlabs."

"Music For CD-PLayer" is made up of 99 indexed and untitled tracks that can be played in any order. The CD-PLayer is then the performer while the listener/player is the conductor of the performance.

"Music For CD-PLayer" was released by Staalplaat in 1994.

Get it here : Ios Smolders - Music For CD-Player

Klangkrieg - Radionik

From Discogs.com : "Klangkrieg is Felix Knoth (aka Felix Kubin) and Tim Buhre. Since 1990 Klangkrieg have been working on surround sound projection, text collages, audio art, music for theatre and film. In concerts the group combines analog sound processing and tape sounds with installation and performance elements, also including visual effects or even complete darkness. If possible they prefer to put people "into" the event by using multiphonic loudspeaker installations and surveillance cameras attached to their hands. Their basic sound origins are electronic and acoustic devices such as elevators, synthesizers, heatings, refridgerators and the inner string frame of an old dismantled piano."

"Radionik" was released by Cling Film Records in 1999.

Get it here : Klangkrieg - Radionik

Klangkrieg - Das Fieber Der Menschlichen Stimme

From Discogs.com : "Klangkrieg is Felix Knoth (aka Felix Kubin) and Tim Buhre. In futuristic tradition Knoth and Buhre try to sensitize the listeners ears for daily urban environment that can become music if one distinguishes between active listening and passive hearing."

"Das Fieber Der Menschlichen Stimme" was released by Audioview in 1998.

Get it here : Klangkrieg - Das Fieber Der Menschlichen Stimme

Klangkrieg - 1st Album

From Discogs.com : "The sound and noise project KLANGKRIEG has been founded in 1987 by Felix Knoth (also known as Felix Kubin) and Tim Buhre. The word "Klangkrieg" defines an Utopian terminal state of urban noise. The group is interested in filtering and processing this noise in order to put it into a musical structure that is dynamic, vivid and suspenseful. Artificial and natural sounds are edited in harsh cut-ups or fine transitions, both showing violence and sensibility next to each other."

Klanggriek's 1st album was released by FünfUndVierzig in 1993.

Get it here : Klangkrieg - 1st Album

Merzbow & Christoph Heemann - Sleeper Awakes On The Edge Of The Abyss

"Sleeper Awakes On The Edge Of The Abyss" is a gorgeous collaboration between Christoph Heemann (HNAS) and Merzbow (aka Masami Akita).

Despite the presence of Merzbow this is not a noise album, rather it is an ambient work.

The cover artwork was designed by Jim O'Rourke.

"Sleeper Awakes On The Edge Of The Abyss" was released by Streamline in 1993.

Get it here : Merzbow & Christoph Heemann - Sleeper Awakes On The Edge Of The Abyss

PGR / Merzbow / Asmus Tietchens - Grav

"Grav" is a unique collaborative work between PGR (aka Kim Cascone), Merzbow (aka Masami Akita) and Asmus Tietchens.

"Grav" was released by Silent Records in 1991.

Get it here : Grav

Tralphaz - For The Leak

Tralphaz is David Lim, a spastic harsh noise artist from San Francisco, CA, USA.

"For The Leak" was released by Throat in 2002.

Get it here : Tralphaz - For The Leak

Cache 2002

From Allmusic.com : "Cache 2002 documents the results of the third annual competition "Jeu de Temps/Time's Play" held by the Canadian Electroacoustic Community and opened to young and emerging sound artists. The 11 top-scoring pieces have been included on this CD."

Tracklisting :

01. R. Dominique Bassal - Rites D'Oiseaux Pensants
02. Carey Dodge - Sound For "Emporter Du Naufrage"
03. Brian Garbet - Ritual
04. Terence Huang - Birth Of Eternity
05. Adis Husejnagic - Sand
06. Martin Messier - Tiaré
07. Dan Nyborg, Andrew Watson - 198.3 Ashcroft Subdivision
08. David Paquette - Un Million D'Instants : I. Le Matin
09. Jean-Michel Robert - Les Enfants D'Éole
10. Andrew Wedman - Breath
11. Brett Ziegler - Graveyard Shift

"Cache 2002" was released by Productions électro Productions in 2002.

Get it here : Cache 2002

Ohmix

From Allmusic.com : "By 2001, the Quebec city sound art collective Avatar was undergoing important transformations, with two of their founding members -- Jocelyn Robert and Christof Migone -- turning or already turned toward new cities, new people, and new ventures. The intent of this remix project was to recycle the past in order to point to the future. Eight artists were commissioned remixes using the first CDs released on Ohm Éditions (Avatar's label). The music of Robert, Migone, Pierre-André Arcand, the collective projects Radio Folie Culture and Rappel, and precursors Bruit TTV was treated, sampled, and recreated by Ralf Wehowsky, Martin Tétreault, Christian Calon, Terre Thaemlitz, John Oswald, Diane Labrosse, David Kristian, and Alexandre St-Onge. So there are musicians from the Ambiances Magnétiques and Alien8 Recordings stables; from Montreal, Europe, and Japan; and from electro-acoustic and electronica realms, all on the same CD. They approached the subject from different angles, but came to similar conclusions. All pieces belong to the turn-of-the-century avant-garde stylings of digital lowercase or new electro-acoustics."

Tracklisting :

1. Ralf Wehowsky - Gesichte
2. Martin Tétreault - Bloc De Vitesse Brune Avec 2 Trous
3. Christian Calon - Aiguiser L'Ouïe
4. Terre Thaemlitz - Transit(ional Edit)
5. John Oswald - Ohmigone
6. John Oswald - Ridge
7. Diane Labrosse - Curieux Mélange Pour Amateurs Auditifs De La Jeune Radio
8. David Kristian - Ohmite
9. Alexandre St-Onge - I-I

"Ohmix" was released by Avatar / OHM Editions in 2001.

Get it here : Ohmix

Lowercase-Sound 2002 [2 x CD Boxset]

From Allmusic.com : "This two-CD compilation describes better than words the scope and interest of the field of attentive listening and microscopic sounds. Beautifully and originally designed, the box contains previously unreleased contributions by a representative cross section of artists. Disc one focuses on pieces derived from field recordings or recordings of acoustic instruments. Gal's "Zhu Shui" (an assemblage of bowling up and cooling down tea kettles) and John Hudak's "Radio Past" (a wax cylinder recording severely altered by the passage of time) stand out, with contributions by Dale Lloyd and Jason Lescalleet also offering memorable moments. Radu Malfatti's "Selbander" is an excruciatingly minimal piece for three trombones made of short episodes of droning activity separated by lengthy silences. Disc two culls tracks of a more purely electronic nature and here we find many top names in the field of experimental electronica and installation art: Francisco Lopez, Stephan Mathieu, Carl Stone, Tetsu Inoue, Taylor Deupree, Kim Cascone -- even Toshimaru Nakamura is represented with one of his pieces on no-input mixing board. Stone's gentle ambient workout "Tefu" and Ronnie Sundin's (aka Rsundin) "_siesmol" provide the highlights of this second platter. The latter piece contains a sudden loud sound that ranks as the set's only heart-attack-inducing moment -- you'll remember it. In short, lowercase-sound 2002 is an open-minded, inclusive collection rating high as being representative of both the artists involved in this style and the kind of design that usually accompanies their music. Highly recommended."

CD 1 :
1-01   The Beige Channel - Implosion
1-02   Tucker Dulin - One Minute
1-03   Gal - Zhu Shui
1-04   Josh Russell - Bp70/32
1-05   Bob L. Sturm - 100:200111 Torrey Pines Outer Buoy
1-06   Dale Lloyd - Fleeting Recollections Of The Snow Plain
1-07   Matt Shoemaker - Charm
1-08   Yannick Dauby - In Dolem
1-09   Electric Company - M
1-10   Reynols - Blank Tapes Mogal
1-11   Joseph Siemion - Discorse
1-12   Animist Orchestra - 4/7/01
1-13   Radu Malfatti - Selbander
1-14   Jason Lescalleet - The Destructive Effects Of Group Dynamics
1-15   David Gross - Untitled
1-16   Undr Quartet - Your Name Was Written In Green
1-17   John Hudak - Radio Past

CD 2 :
2-01   Otaku Yakuza - The Space Of A Second
2-02   Francisco López - Untitled #118
2-03   Rsundin - _Siesmol
2-04   Akira Rabelais - Disjectimembrapoetaeeatelich
2-05   Stephan Mathieu - Flake
2-06   Immedia - -(2)
2-07   Dan Abrams - Feature
2-08   Peter Van Hoesen - Objectseq
2-09   Michael Schumacher - Still
2-10   Carl Stone - Tefu
2-11   Tetsu Inoue - Compact
2-12   Taylor Deupree - Inharmil
2-13   Kim Cascone - Edge Boundry #1
2-14   Toshimaru Nakamura - Nimb #20
2-15   Jonas Lindgren - Groundwater
2-16   Civyiu Kkliu - Ludmilla Faulk

"Lowercase-Sound 2002" was released by Bremsstrahlung in 2002.

Get it here : Lowercase-Sound 2002

Lowercase [2 x CD Boxset]

From Allmusic.com : "Steve Roden used the word "lowercase" in a 1998 interview to describe his own sound esthetic. The term sparked something and sound artists from all over the world gathered in the lowercase-sound discussion group, widening the possible definition of what has become known as a style, for better or worse. Lowercase is a form of composition that focuses on attentive listening and microscopic sounds."

CD 1 :
1-01   Roel Meelkop – 1 (Beegee)
1-02   Artificial Memory Trace – Infover
1-03   Bernhard Günter – In Her Dream / Mu Is Running / Autumn Moon (Haiku For Mu)
1-04   Richard Chartier – 3particles
1-05   Nosei Sakata (*0) – Cochler
1-06   Jason Lescalleet – Needles
1-07   Howard Stelzer – Bend Or Fold
1-08   Steve Roden / In Be Tween Noise – 8 Windows (First Version)
1-09   Josh Russell – 1000x
1-10   Pimmon – Finja Falso Peixes
1-11   Brekekekexkoaxkoax – For Gerard Klauder
1-12   Michael Northam – Kapla (An Excerpt)

CD 2 :
2-01   Taylor Deupree – Dopticn
2-02   Matthew Thomas & Oren Ambarchi – Stratagem (Distortus)
2-03   Quockenzocker – Wonthaggi
2-04   Ios Smolders – Sequenzen (Somehow Inspired By Kh Stockhausen)
2-05   Kid 606 – Done/Start
2-06   Adrian Lee – (u)n(-)t(i)t(l)e(d)
2-07   Warsaw (1921) – Sonarchy Sounding
2-08   Colin Jenkinson & Kevin Schwartz – Duoic Ecneirepxe
2-09   Lt Caramel – Music Pour Parking Payant
2-10   Joseph Zitt – Mouth.midnight
2-11   Ecclesiastical Scaffolding – By Winter, It Had To Come To An End
2-12   Richard Cochrane – Las Bas (Lower Depths)
2-13   Dale Anderson – Lost Velo
2-14   Rod Stasick – Obeliskrying
2-15   Tone Speak – Tone Shifter

"Lowercase" was released by Bremsstrahlung in 2000.

Get it here : Lowercase

Curd Duca - Elevator 3

From Allmusic.com : "Self-described as "digitalanalog mood music," Curd Duca's Elevator 3 album jams together 48 short pieces of sound montage, using digital processing to splice together and manipulate warm acoustic sounds. Five of the songs employ the soothing vocals of Carin Feldschmid, bringing these otherwise entirely abstract pieces closer to our schema of a traditional song; the humanity of her voice elevates these songs to the status of being the most memorable moments on the album. Yet even these few songs with vocals tend to pass by unconsciously as Duca quickly transitions from one song to the next so smoothly that only the most attentive listeners will notice. And keep in mind that Duca doesn't expect the listener to be attentive; he doesn't call it mood music for nothing. The music tends to flow in a stream of consciousness-like manner, from one brief moment of acoustic sound to the next. There are few salient moments and virtually no dominant rhythms, only subtly pulsing beats, fading samples, and breaths of quiet noise. This lack of salient attributes combines with the short track length and seamless transitioning to create the essence of poetic mood music that never gets tedious or monotonous; it isn't funky, melodic, or very beautiful, but it is rather calming."

"Elevator 3" was released by Mille Plateaux in 2000.

Get it here : Curd Duca - Elevator 3

Curd Duca - Elevator 2

From Allmusic.com : "The productions of electronic mood music figure Curd Duca look back to the late-'60s dawn of popular synthesizer music, the age of Wendy Carlos' classical-synth fusions and studio producers who experimented with computer music by yoking it to pop pieces. Duca's been in the music business since the early '80s, originally playing keyboards for the German groups Auch Wenn Es Seltsam Klingen Mag and 8 Oder 9 -- the latter released a half-dozen LPs during the '80s. In 1992, he recorded his solo debut, Easy Listening, the first in what became a five-volume series on Normal Records that took up most of the subsequent four years. Moving to the solid experimental/techno label Mille Plateaux in 1997, Duca released Switched-On Wagner, a series of synthesizer translations of works originally by the German romantic giant Richard Wagner. The following year, he inaugurated yet another series, Elevator, each volume of which included dozens of short tracks in a muzaky mode."

"Elevator 2" was released by Mille Plateaux in 1999.

Get it here : Curd Duca - Elevator 2

Curd Duca - Elevator

From Wikipedia : "Curd Duca (born 14 March 1955) is an Austrian musician, composer and producer of electronic music. He has played in the experimental groups "Auch Wenn Es Seltsam Kingen Mag", "8 ODER 9" and "Skin". Starting in 1992, he has been working mainly on solo projects with electronic instruments.

Curd Duca is known for his work with audio samples that get altered, cut-up and "re-contextualised". The audio is taken from analog sources and mostly used without beats. Rhythmic structures are created, originally by loops, more recently by micro-cuts and improvisation with parameters of granular synthesis. From 1996, his albums were released on the experimental/techno label Mille Plateaux."

"Elevator" was released by Mille Plateaux in 1998.

Get it here : Curd Duca - Elevator

Audiolab [2 x CD Boxset]

From the liner notes : "Audiolab is made up of a series of different sound pieces, specifically produced to be diffused inside an architectural module, created by young French designers. This space or listening chamber has been made to receive the visitor and allow for the optimal and environmental diffusion of sound. Patrick Jouin, Erwan and Ronan Bouroullec as well as Laurent Massaloux have in this way each created a listening and sound immersion module, in which the sound works are diffused and made spatial.

This compilation brings together the works produced by Audiolab 1 and 2, respectively conceived by Patrick Jouin and the Bouroullec brothers."

Audiolab 1 :
1-1   Alejandra & Aeron – Pueblos Asolados, Underwater Villages
1-2   Monolake – Idle_Time
1-3   Laetitia Bénat – Tahl (AA Edit)
1-4   Rupert Huber – A Movement In The Waiting Room
1-5   Rebecca Bournigault – Intentions
1-6   Radio Mentale – Thousands Of Records (Walking Tree Mix) featuring David Toop
1-7   Henrik Plenge Jakobsen – Plasmatic Prisms
1-8   Vladislav Delay – Stand-Alone

Audiolab 2 :
2-1   To Rococo Rot – Untitled
2-2   Dorine_Muraille – Branleuse, With Attitude
2-3   AGF – DownBYtheLAKE
2-4   Doug Aitken & Steve Roden – Time Can't Stop Now Part 1
2-5   Doug Aitken & Steve Roden – Time Can't Stop Now Part 2
2-6   Doug Aitken & Steve Roden – Time Can't Stop Now Part 3
2-7   Cameron Jamie – Spook House Field Recording
2-8   Curd Duca – Digitalanalog Suite
2-9   Xavier Veilhan & David Artaud – Dourdan

"Audiolab" was released by Lucky Kitchen in 2003.

Get it here : Audiolab

Butthole Surfers - Live at the Fox 1991 [Video]

From www.surrealmoviez.info : "This is a bootleg but not one of those "shot with a camera phone" deals. It appears that they meant to make it but nobody ever released it. Video quality is not bad, but it is the Butthole Surfers, after all ... strobe lights and film being major elements of illumination. Sound quality, again, reasonably good but it is the Butthole Surfers."

Date : 12 May 1991
Venue : Fox Theatre, Portland, Oregon, USA
Runtime : 60 minutes
Notes : Produced & Directed by Michael Lastra
Thanks to : Monqui, The Fox, Smegma & The Butthole Surfers

Setlist :
01. Some Dispute Over T-Shirt Sales
02. Edgar
03. Blindman
04. Colored FBI Guy
05. You Don't Know
06. I Saw An X-ray of A Girl Passing Gas
07. No Rule
08. Psychedelic Jam
09. Dancing Fool
10. Human Cannonball
11. Helicoptor
12. Negro Observer
13. Revolution
14. Concubine
15. Fast
16. Alcohol
17. Blue Cheer
18. The Shah Sleeps In Lee Harvey's Grave

Get the video here :
http://www.megaupload.com/?d=66XF748V
http://www.megaupload.com/?d=6AK67YH8
http://www.megaupload.com/?d=AV6TWE09
http://www.megaupload.com/?d=A8W4G1I1
http://www.megaupload.com/?d=GNQNESRC
http://www.megaupload.com/?d=3WR1KOMY
http://www.megaupload.com/?d=49SB34UE
http://www.megaupload.com/?d=IP3NYPVI
http://www.megaupload.com/?d=Q6KM5SBN
http://www.megaupload.com/?d=BYPOPL19
http://www.megaupload.com/?d=UPXHZBSI

Thanks are due to the original poster.

L.A.F.M.S. - The Lowest Form Of Music [10 x CD Box]

From Allmusic.com : "The Los Angeles Free Music Society is not one group per se but rather a loose collection of several like-minded noise anarchists from the mid-'70s who found commercial rock too boring, slick, and predictable, and set out to reinvent improvisation and sound experiments with a DIY ethic. Inspired by Zappa, Captain Beefheart, John Cage, the Residents, and free jazz, the LAFMS was an underground avant-rock movement and a record label that presaged everything from punk to plunderphonics, while their utterly unconventional approach denied them any chance of mainstream success. As their movement spread, they became a lightning rod for art-damage, weird-music lovers everywhere.

In the summer of 1973, the threesome of Rick Potts, Joe Potts, and Chip Chapman started to record material under the name Patients in East L.A. These were tape experiments and improvised playing mixed with early sampling from television cartoons as well as Chapman's extensive record collection. By 1974, they changed their name to the Los Angeles Free Music Society to do the album Ka-Bella-Binski-Bungo, however by the time the album came out, in 1975, it had been renamed Bikini Tennis Shoes and the group was now Le Forte Four with the addition of Tom Potts. Unbeknownst to them, during this time another gang of semi-musicians with a similar experimental bent gathered in the evenings at the Poo-Bah Record Shop in nearby Pasadena. Tom Recchion, who worked at the store, had formed Two Who Do Duets with Harold Schroeder in March of 1975, and later that year the group transformed into the Doo-Dooettes with the addition of Juan Gomez. Others of the Pasadena crowd included Ace Farren Ford and the Professor (who performed as the duo Ace & Duce), Dennis Duck, Richard Snyder, Fredrik Nilsen, and Billy Bishop. Members of the avant-rock group Smegma, who had already been around for a couple years, were also part of the Pasadena crowd before they moved to Portland, OR, near the end of 1975. When Recchion arrived one evening with Le Forte Four's Bikini Tennis Shoes LP, the impressed Pasadena contingent realized they were not alone, and immediately joined the LAFMS umbrella as a way to get their own recordings released, and soon Le Forte Four and the Doo-Dooettes were double-billing live.

In 1976, Joe Potts decided to put out a various-artists compilation with an open invitation, selling space on the record at two dollars for every 15 minutes as a way to allow others who couldn't afford their own record to release material. This compilation, I.D. Art, featuring both LAFMS artists and others, came out later that year. This led to several Blorp Esette compilations set up along similar lines in 1978 and 1980, further widening the LAFMS web and their attitude that anyone should have the right to be on record. New projects were also formed out of the pool of LAFMS compatriots, from Joe Potts' live noise-overload project Airway, formed in 1977; to John Duncan's CV Massage a couple years later; and even more groups in the 1980s like Solid Eye, Monique, Human Hands, Dinosaurs With Horns, Foundation Boo; as well as solo efforts by John Duncan, Joe Potts, Tom Recchion, Dennis Duck, Fredrik Nilsen, and Chip Chapman. Though nothing has been released on the LAFMS label since the mid-'80s, many of the participants carried the spirit of the movement onward. It can't be denied that their influence has carried forward through punk in the late '70s to the cassette-tape trader movement of the '80s, while much of their own music is still as unsettlingly weird as it was in the mid-'70s."

 "The Lowest Form Of Music" was released by RRR in 1996.

Get it here : L.A.F.M.S. - The Lowest Form Of Music [10 x CD Box]

Francisco Lopez - Azoic Zone

From the liner notes : "Azoic Zone is a mail music collaborative work within the international cassette network. David Myers, Illusion Of Safety, John Hudak, Minoy, Zan Hoffman, Scot Konzelmann, Richard Franecki, Michael Gendreau, Steve Peters and John Wiggins made special original recordings for this project. I used their raw sound material - together with mine - to create the soundscapes of Azoic Zone."

"Azoic Zone" was released by Geometrik Records in 1993.

Get it here : Francisco Lopez - Azoic Zone

V.V. - The Animals In These Cages Are Injured In Some Way And Would Probably Die If Released

"V.V. is Ven Voisey, a multi-diciplinary artist living in North Adams, Massachusetts. Born in Richmond, CA, Voisey grew up in the East Bay Area of Northern California. In 2000, he received a BA from San Francisco State University in a multi-diciplinary major combining Electronic music with Conceptual Art. In 2003, Voisey moved to North Adams, MA. Since then he has been working with a variety of arts organizations and making work in his studio. In 2010 he was Artist-in-Residence at the Berkshire Museum and received the Individual Artist grant from Local Cultural Council of Northern Berkshire." (www.v---v.net)

"The Animals In These Cages..." was released by Aesova in 2002.

Get it here : V.V. - The Animals In These Cages...

Renaldo & The Loaf - Songs For Swinging Larvae

From Discogs.com : "Renaldo Malpractice (Brian Poole) and Ted the Loaf (David Janssen) are a bizarre, insanely creative duo of Brits hailing from Portsmouth. Their music is wacky and fun, schizophrenic and unexpected. "Discovered" by the Residents after they released a cassette version of their first recording, they were signed to Ralph Records and produced three albums between 1981 and 1987."



"Songs For Swinging Larvae" was released by Ralph Records in 1981 and re-released by TEC Tones in 1990. All transformations were realized without the use of synthesizers or juvenile hormone.

Get the album and the video here : Renaldo & The Loaf - Songs For Swinging Larvae

Max Almy - Perfect Leader

From www.eai.org : "Los Angeles-based artist Max Almy employs video and computer techniques to create dynamic visual allegories of the impact of technology and television on contemporary life. Her works of the 1980s, including Leaving the Twentieth Century (1982) and Perfect Leader (1983), are vivid pictorial narratives that use technology to critique the social and political ideologies of a consumer-based, media-saturated culture.

Through a clever application of computer animation and digital effects, Almy depicts the hyper-reality of a world subsumed by the spectacles and slogans of mass media. Recasting the codes of the music clip and the television commercial, Almy's postmodern stories are characterized by bold visual stylization, emblematic imagery, driving soundtracks, and condensed narrative structures. In later works, Almy's distinctive mode of visual storytelling is used to question the relation of technology and the individual within the evolution of human communication.

In her work in video as a performance, installation and broadcast medium since the 1970s, Almy turns advertising techniques and televisiontechnologies back on themselves, using them to further her vibrant depictions of a culture "lost in the pictures." Almy was born in 1948. She received a B.F.A. from the University of Nebraska and an M.F.A. from the California College of Arts and Crafts. She has received fellowships from the American Film Institute's Independent Filmmakers program, the National Endowment for the Arts, and Western States Regional Media Arts. Almy was artist-in-residence at KHJ-TV, and has taught at the School of Film and Television, University of California, both in Los Angeles. Her videotapes have been broadcast widely and exhibited internationally at festivals and institutions including the Stedelijk Museum, Amsterdam; Centre Georges Pompidou, Paris; The Museum of Modern Art, New York; The Museum of Contemporary Art, Chicago; Kunsthaus, Zurich; The Institute of Contemporary Art, Boston; San Francisco International Video Festival; The Kitchen, New York; World Wide Video Festival, The Hague; and the Bonn Videonale. Almy lives in Los Angeles."

"Perfect Leader" was released in 1983.

Get it here : Max Almy - Perfect Leader

Yann Minh - Média 000

From www.yannminh.org : "Yann Minh is a writer of Science-Fiction, multi-media artist, mixed media and video artist, TV director and 3D artist.

"Média 000" : A young woman maintained in suspended life is trapped in the cyberspace.

First award at the Festival of Charleroi in 1984. Special price at the festival of Montbeliard.

"Média 000" is by its form and content, an oneiric microcosm describing the ultimate apogee of a world mediatized to the extreme.

The 12 minutes program, is in fact, the main videotape of an installation made up of two screens videos, diffusing two distinct tapes, synchronized with two sets of slide projectors, and organized around a cybernetic sculpture representing a lengthened young woman connected to the screens.

The witness penetrates an obscure black lighted room, symbolizing a scientific research laboratory."

"Média 000" was released in 1982.

Get it here : Yann Minh - Média 000

Terre Thaemlitz - Means From An End

From Discogs.com : "Born in Minnesota and raised in Missouri, Terre Thaemlitz moved to New York in the mid-1980s to pursue art scholarship at Cooper Union. Soon distracted by the growing New York house scene, he began DJing at drag balls and benefits, leading to an Underground Grammy for best DJ in 1991. Although primarily a "dance DJ", Thaemlitz's insistence upon integrating house music's more simplistic patterns with challenging, elaborated structures, earned him an uneasy relationship with club promoters looking for DJs whose only commitment was a monotonous dance formula. Thaemlitz began making his own tracks, beginning with a sort of deepest deep-house but quickly moving into genre defying fusions of funk, soul, disco, and musique concrète, and eventually settling into advanced ambient. One of his earliest works, Raw Through A Straw / Tranquilizer, in addition to limited release through hir own Comatonse Recordings label, appeared on an early ambient compilation on Instinct Records, and earned him an almost instant reputation.

As an ambient producer/artist, Thaemlitz focuses mostly on themes of sexual self-identity, alienation and contradiction in his music. Thaemlitz' recorded work, collected on albums such as Tranquilizer and Soil, is closer in tone to ambient-leaning industrialists such as Lustmord, Carl Stone, and (some) Merzbow, as well as "deep listening" composers such as Pauline Oliveros and Robert Rich although he also proves to be an awesome deep-house and unusual dance music producer at times. He also recorded with Bill Laswell and did remix work for many other artists."

The first seven tracks of "Means From An End" show Thaemlitz' amazing ability at deconstructing jazz.

"Means From An End" was released by Mille Plateaux in 1998.

Get it here : Terre Thamelitz - Means From An End

Pimmon - Copper Hats

From Discogs.com : "Pimmon is Paul Gough, an Austalian artist. The name Pimmon acts as an empty canvas for Gough's otherworld soundscapes.

The sound of Pimmon? Buzzes and blips, distorted rumbles, ghosts of melody, radar pulses, glitched ambience all are melted into an unpredictable slab of sound that fluctuates on and off.

Minimal and maximised sounds weave without sounding unfocused. Microscopic worlds that are zoom-lensed into grainy focus, alien and yet vaguely familiar, an emotive call from the distance."

"Copper Hats" is Pimmon's 1st album. It was released by Freedom From in 1997.

Get it here : Pimmon - Copper Hats

SLP - SLP

SLP is Joachim Pense, Stephan Schmidt, Roger Schönauer, Charly Steiger, Ralf Wehowsky and Achim Wollscheid.

From the liner notes : "SLP denotes a group of musicians (and their recent project) who are, since the beginning of the 80s, active in the area of new rock music and in the fringe area of electronic and tape music. They also work - in different combinations - as single artists or under the project names S.B.O.T.H.I., LLL and P16.D4. Their common label name is SELEKTION."

"SLP" probably is one of the first experiments in the CD skipping technique.

"SLP" was released by SELEKTION in 1990.

Get it here : SLP - SLP

Das Synthetische Mischgewebe - Interférences Et Plus

From Discogs.com : "Das Synthetische Mischgewebe started in the early 80's in Berlin with electronic, industrial, avant-garde associated cassette releases.

A first LP on the outstanding Madrid based label Discos Esplendor Geometrico was followed by CD and vinyl releases on SFCR (F), and Pinch-A-Loaf and Povertech (USA). Das Synthetische Mischgewebe also did projects with MSBR, Mnortham, Frans de Waard, Ios Smolders, Artificial Memory Trace, Thomasius, TBC, The Oval Language and others.

The duo participated in a pile of compilations including a 2009 2CD on Suitcase (USA). Several of their earlier cassette works have been reissued on limited edition vinyl pressings on the German Vinyl On Demand label."

"Interférences Et Plus" was released by SFCR in 1991.

Get it here : Das Synthetische Mischgewebe - Interférences Et Plus

Pan Sonic - Live In NYC 1995

From Discogs.com : "Pan Sonic, known as Panasonic from 1993 until 1998, are an internationally renowned Finnish electronic music project which began when Mika Vainio and Ilpo Väisänen first met within the art and techno scene of Turku.

In 1994 (with the 3rd member Sami Salo who left the band in 1996) they started to release on Sähkö, the experimental techno label of their friend Tommi Grönlund. On their first tour outside of Finland, leading to London, they got a record deal with Blast First, the Mute sub-label where in 1995 they gained international respect with their album "Vakio", originally released as a set of four 10"es.

Pan Sonic stand for minimal rhythmic music with extremely reduced structures and pure tones, sinewaves, pulses, electronic squelches and ultrasonic waveforms. The physicalnes of their sounds is an essential component of their live music and a clear manifest of their industrial influences (Throbbing Gristle, Einstürzende Neubauten, SPK) as well as of the NYC band Suicide, of Acid Techno, of Jamaican Dub, Ska, and Musique concrète composer Pierre Henry."

"Live In NYC 1995" contains two live sets that were recorded at the Knitting Factory in New York City on January 19th and 20th 1995.

"Live In NYC 1995" was released by Jenny Divers in 2001.

Get it here : Pan Sonic - Live In NYC 1995

Jim O'Rourke - Scend

From Discogs.com : "Born in 1969, composer/improviser/producer Jim O'Rourke has recorded as a member of the experimental rock groups Gastr Del Sol, The Red Krayola, Brise Glace and Yona Kit, recorded a number of his own albums of pop rock, guitar improvisation and musique-concrète compositions on the Drag City, Staalplaat, Extreme, Divided, Entenpfuhl and Metamkine labels, released collaborative recordings with Henry Kaiser, K.K. Null, Gunter Muller, Eddie Prevost, Evan Parker, Phill Niblock and Mats Gustafsson, and produced albums by Tony Conrad, Faust, Melt Banana and Space Streakings. Until recently O'Rourke was most active as a producer and member of Sonic Youth, but he left the band in late 2005. He has since issued some of his more experimental early pieces such as "6 Oscillators '87 / Guitar '88", and contributed to projects such as Diskaholics Anonymous Trio, among others."

"Scend" was released by Divided in 1992.

Get it here : Jim O'Rourke - Scend

Jim O'Rourke & SyllyK - Frontières ?

From Discogs.com : "Born in 1969, composer/improviser/producer Jim O'Rourke has recorded as a member of the experimental rock groups Gastr Del Sol, The Red Krayola, Brise Glace and Yona Kit, recorded a number of his own albums of pop rock, guitar improvisation and musique-concrète compositions on the Drag City, Staalplaat, Extreme, Divided, Entenpfuhl and Metamkine labels, released collaborative recordings with Henry Kaiser, K.K. Null, Gunter Muller, Eddie Prevost, Evan Parker, Phill Niblock and Mats Gustafsson, and produced albums by Tony Conrad, Faust, Melt Banana and Space Streakings. Until recently O'Rourke was most active as a producer and member of Sonic Youth, but he left the band in late 2005. He has since issued some of his more experimental early pieces such as "6 Oscillators '87 / Guitar '88", and contributed to projects such as Diskaholics Anonymous Trio, among others."

SyllyK is Eric La Casa and Sylvie Laroche.

Eric La Casa : "The propagation of sound in a locale is a complex vibratory / undulatory phenomenon which involves acoustic measurement just as much as it involves aesthetic appreciation. How to account for the size of things by their sonic properties? Beyond technical protocol, listening becomes tied up in the surfaces of the world. Recordings, sonic readings, open out into a musical form which reactivates a perception of that which surrounds us, whether visible or not; a reinjection. Thus, for fifteen years or so, my musical practice has been a series of experimentations / improvisations with this sonic locale. As it passes through my microphones, the site of the survey – everyday life – is transformed into a site of play. The dimensions of the real world generate sonic representations whose proportions found another perspective on the world."

"Frontières ?" was released by La Légende Des Voix in 1992.

Get it here : Jim O'Rourke & SyllyK - Frontières ?

Negativland - 1st Album

 From Discogs.com : "The experimental-music and art collective known as Negativland (Richard Lyons, Mark Hosler, Don Joyce, Peter Conheim) has been recording music/audio/collage works since 1980, producing a weekly 3 hour radio show ("Over The Edge") since 1981, hosting a World Wide Web site since 1995, and performing live on occasional tours throughout America and Europe. Negativland's particular musical practice incorporates found sounds and musical samples into their collage compositions. Our contemporary interest in collage (a hallmark of 20th Century art of all kinds) is prompted by the fact that art and commerce have now merged to a degree where corporate commerce now finances, grooms, directs, filters, manufactures and distributes almost everything we know of as 'culture'."

Negativland's 1st album was released by Sealand in 1980.

Get it here : Negativland - 1st Album

Kingdom Scum - Golden Asshole Legacy

From Discogs.com : "Kingdom Scum project started in 1989 when two friends were digging through the dumpster of the treatment center in Richmond, Virginia. There in the trash lay some discarded archives - one of which was entitled "The Documents of Kingdom Scum". The papers were written in 1909 by a former tenant of the institution who had signed their name as "Apuro, sun of the vermin wind". This name later became adopted by one of the two founders of Kingdom Scum. The other, Troy Eeyore, had been working with another project "Eeyore Power Tool" and together they began to write music for the ideas and texts in the papers they found. At the same time they began to write their own texts in a similar vein.
Throughout the years the musical manifestation of Kingdom Scum has taken on various members and helpers. Yet most of the time, Apuro and Troy Eeyore were working together. Throughout the period 1990-1999 Kingdom Scum performed numerous concerts and released various records on various labels (Turn of the Century, Eerie Materials, Staalplaat, etc...). All collaboration since then has been long-distant and live performances are rare."

"Golden Asshole Legacy" was released by Staalplaat in 1993.

Get it here : Kingdom Scum - Golden Asshole Legacy

John Duncan & A. M. McKenzie - Contact

From The Wire : "John Duncan portrays his work as a catalyst, inciting a transmission of energy through which he seeks to compel the audience to actively participate in the process of investigation and self-discovery. His lengthy career of electroacoustic intensity and confrontational performance art events is the result of rigorous investigations into a number of arcane, metaphysical, and at times transgressive themes. Duncan is a rare artist who is totally immersed in existential research."

From Discogs.com : "Andrew McKenzie is known primarily for his activity in The Hafler Trio, the name under which he has operated alone for more than a decade, often with the help of a floating roster of collaborators. Formed in the early 1980s, its collaborators have since included co-founder Chris Watson, the fictional Dr. Edward Moolenbeek, as well as Fluxus artist and storyteller Willem De Ridder, Ben Ponton from Zoviet France, film maker Ian Lake, graphic artist Neville Brody, noise musician Zbigniew Karkowski, performance artist John Duncan, director Peter Greenaway or "post-porn modernist" Annie Sprinkle."

"Contact" was released by Touch Records in 1990.

Get it here : John Duncan & A. M. McKenzie - Contact

The Hafler Trio - Kill The King

From Allmusic.com : "The first major album after Watson left, Kill the King was recorded for Kim Cascone's Silent Records, a home for isolationist ambience throughout the world. With the help of Adi Newton and John Duncan, among others, Andrew McKenzie constructed over an hour of fathomless space music, reliant on field recordings as well as various electronics, and similar in fact to Cascone's work as PGR. The beginning of a new period for Hafler Trio, and an excellent christening."

"Kill The King" was released by Silent Records and Staalplaat in 1991.

Get it here : The Hafler Trio - Kill The King

Z'ev - 1968-1990 : One Foot In The Grave

From Discogs.com : "Conceptual artist, dancer, musician, scholar and poet, Stefan Weisser began playing the drums at age 4. Moving to New York City from San Francisco in 1979, and adopting the name Z'EV, his work with performance/noise percussion broke new ground and drew the attention of rock symphonist Glenn Branca, dancer Simone Forti, guitarist Rudolph Grey and just about everybody related to the downtown scene."

"1968-1990 : One Foot In The Grave" was released by Touch Records in 1991.

Get it here : Z'ev - 1968-1990 : One Foot In The Grave

Sweden - Same Diff

For those who wonder who is Sweden, then imagine a kind of Australian Costes and you'll get a short idea.

"Same Diff is like karaoke without the practice rooms, a cabaret noise style re-enactment of cataclysmic musical moments from the 60's and 70's performed with all the skill of a young council official. Starting with the sinister opening bars of White Rabbit to the orgasmic climax of Macarthur Park." (www.dualplover.com)

The pack includes the audio part as well as the CD-ROM part which contains seven videos of Sweden performing in a bath of beans !

"Same Diff" was produced and recorded by Garry Bradbury who also provides backing vocals on the track "Itchy" along with Patrick Gibson (Systematics, The Loop Orchestra).

"Same Diff" was released in 2002.

Get it here : Sweden - Same Diff

Size - Actual Size

From the liner notes : "Size are Garry Bradbury and Jason Gee. "Actual Size" is a collection of works from the period 1993 to 1997 (with a year off somewhere in there). Most were put with a view to live performance. Others just cropped up along the way. It was all recorded on location in various bedrooms using fairly trashy equipment, e.g. all sequencing was done using a Commodore 64. Some tracks were detailed on hard disk around at Terse Tapes and Lymph Product Studios."

"Actual Size" was released as a CDr by Sevcom in 2001.

Get it here : Size - Actual Size

Garry Bradbury - Drug Induced Sex Rituals

From Discogs.com : "Garry Bradbury was a member of Severed Heads from 1981 to 1985. He also performed solo under the alias Lamington Lady and in the groups Size, Wet Taxis and Hiroshima Chair. Now he is performing as Bradbury."

"Drug Induced Sex Rituals", while produced and recorded in 1990, was released as a CDr by Sevcom in 2001.

Get it here : Garry Bradbury - Drug Induced Sex Rituals

Asmus Tietchens / PBK - Five Manifestoes

From Discogs.com : "Asmus Tietchens is a German electronic musician who has pursued "absolute music" through an almost mathematical process of rigid formal exercises. With strong ties to Karlheinz Stockhausen's early electronic work, Tietchens specializes in irregular patterns of sonic abstractions that are suspended in gray drones to create cold textural voids from external references. His music is often inspired by and refers to the texts of the philosopher Emil Cioran.

PBK has been working in the areas of noise, ambient and electroacoustic music since 1986. PBK is an acronym for Phillip B. Klingler, born in 1960 in Flint, Michigan. In the early 80's Klingler studied art at Northern Michigan University and CSU San Bernardino. He exhibited his expressionistic paintings in the Los Angeles area and was active on the international mail-art scene."

"Five Manifestoes" was released by Realization Recordings in 1992.

Get it here : Asmus Tietchens / PBK - Five Manifestoes