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)

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

Die Tödliche Doris vs Le Chapiteau Des Fous - The Invisible 5th LP Materialized As MP3

Read carefully, this is a totally unofficial version of Die Tödliche Doris's "Invisible 5th LP".

In 1984 Die Tödliche Doris released their vinyl album "Unser Debut", followed two years later by "Sechs". Soon after they issued a big sized poster explaining the concept of both records and their secret 5th LP content. When played on two turntables simultaniously, the tracks form brand new tracks. Each corresponding track on both records has the same length and is composed to accompany the counterpart, thus forming fitting new tracks. They never intended really materializing this secret 5th LP. In starting digital times they choose to issue this experiment on CD, "The Invisible 5th LP Materialized As CD ": Each channel contains one part of each track. When listened to in stereo, you hear the fifth LP. When only listened to the left channel, you'll hear "Unser Debut", when listening only to the right channel, you'll hear "Sechs".

Le Chapiteau Des Fous decided to play the game and mixed both records "Unser Debut" and "Sechs" together to form its own version of "The Invisible 5th LP Materialized As MP3"

"The Invisible 5th LP Materialized As MP3" was released by Le Chapiteau Des Fous in 2011.

Get it here : Die Tödliche Doris vs Le Chapiteau Des Fous - The Invisible 5th LP Materialized As MP3

Die Tödliche Doris - Sechs

Side A :
1. Windstille
2. Grünland In Der Grenzschlade
3. Eine Frau Zur Selben Zeit An Einem Anderen Ort
4. Wir Begrüßen Den Neuen Tag
5. Beim Rechtsanwalt a) Zopf

Side B :
1. Not True !
2. Ortsgespräch 1986
3. Im Tief
4. Finale Der Plattenseite B

"Sechs" was released by Ata Tak in 1986.

Get it here : Die Tödliche Doris - Sechs

Die Tödliche Doris - Unser Debut

Side A :
1. Südwestwind - The Sound Of Bells
2. Ungerechtigkeit (Hinter Glas Oder Folie)
3. Noch 14 Vorstellungen
4. Nachdenken, Gedächtnis Und Gesang
5. Auf Dem Lande b) Tatsachen

Side B :
1. Unser Debut / Dtsch.-Engl.
2. Ungerechtigkeit II (20 Pfennig Finderlohn)
3. Lieblingslied / Verunglückt (5)
4. Weltkonferenz Hochalpen

"Unser Debut" was released by Ata Tak in 1984.

Get it here : Die Tödliche Doris - Unser Debut

Die Tödliche Doris - Das Gab's Nur Dreimal [3 x Vinyl Boxset]

The boxset comprises the following three vinyl records :

Die Tödliche Doris (LP) :
A1  Stümmel Mir Die Sprache 
A2  Posaunen Der Liebe 
A3  Der Tod Ist Ein Skandal 
A4  Panzerabwehrfaust 
A5  Wie Still Es Im Wald Ist 
A6  Sie Werden Nicht Beobachtet 
A7  Haare Im Mund 
B1  M. Rökk: Rhythmus Im Blut 
B2  Kavaliere 
B3  Fliegt Schnell Laut Summend 
B4  Robert 
B5  Über-Mutti 
B6  In Der Pause 

7 Tödliche Unfälle Im Haushalt (10") :
C1  7 Tödliche Unfälle Im Haushalt 
C2  Tanz Im Quadrat 
C3  Avon-Gard 
C4  Stop Der Information 
D1  Der Krieg Der Basen 
D2  Der Astronaut Und Der Kosmos 

Chöre & Soli (7") :
E1  Mädchenherzen Fliegen Durch Die Luft 
E2  You See, We Come As Friends 
E3  Wir Bilden Eine Rosette 
E4  Denk An Mich - Mich Doch Nicht 
E5  Ich Habe Noch Keinen Ton Gesagt 
E6  Die Sonne Wirft Strahlen Auf Uns 
E7  Lichtschwindel, Lichtschwindel 
E8  Wir Sind Zwei Witwen 
F1  Ein Hölzchen/ - Vier Schnürchen 
F2  Kühn - Tapfer - Mutig - Rebellisch 
F3  Der Musikant Reicht Dir Die Hand 
F4  Holda's Heisse Tränen 
F5  Aus Dem Hinterhaus 
F6  Wir Stehen In Der Pfütze 
F7  Graue Augen 
F8  Die Luft Ist Voll Von Licht

"Das Gab's Nur Dreimal" was released by Wave Japan in 1988.

Get it here : Die Tödliche Doris - Das Gab's Nur Dreimal

H.N.A.S. - Kuttel Im Frost

From Allmusic.com : "An official CD reissue of this highly sought-after third album from H.N.A.S. which was originally released in a scarce LP edition in 1986. The CD features seven previously unreleased tracks and exhibits some of the most inventive and outrageous experimentation from the post-industrial axis this side of Nurse With Wound. H.N.A.S. will appeal to those interested in the seminal roots of European avant rock and experimental electronica; Küttel im Frost recalls the '80s work of Nurse With Wound in parts and certainly belongs in the collections of fans of the absurd experimentation of NWW and Current 93 as well as the avant rock of Faust and This Heat."

"Kuttel Im Frost" was released by Dom in 1986, then re-released in 2002.

Get it here : H.N.A.S. - Kuttel Im Frost

H.N.A.S. - Im Schatten Der Möhre

From Allmusic.com : "On their fourth album, the obscure German electronic composer and experimenter Christoph Heemann's H.N.A.S. project had become increasingly bizarre. This album on the DOM label was originally released in 1987 in a strictly limited edition. This CD version is a remastered version of the rare avant-garde/experimental rock LP with seven bonus tracks and the original artwork and photos. The album was also reissued by Christoph Heemann himself on Streamline, though without the bonus tracks found on this version. Essential listening for those interested in the European post-industrial scene; though H.N.A.S. remains considerably obscure, their influence on the avant rock and experimental electronica scenes cannot be underestimated."

"Im Schatten Der Möhre" was released by Dom in 1987, then re-released in 2002.

Get it here : H.N.A.S. - Im Schatten Der Möhre

H.N.A.S. - The Book Of Dingenskirchen

From Allmusic.com : "H.N.A.S.'s fifth album, The Book of Deingenskirchen, was originally released in 1988 in extremely limited quantities, 20 black and 70 clear vinyl LPs, to make it one of the most rare items in the H.N.A.S. catalog. This CD reissue, like those of the earlier four albums, adds an LP's worth of bonus tracks dating from 1985 to 1992. Like the earlier albums by this group, it's another strange trip through surrealistic soundscapes and collages with both acoustic instruments and electronics, distorted female voices in German, and lots of mysterious noises. Some pieces -- like "Ochs am Berge," "Die Gretchenfrage," and "Ich bin Ja Besser" -- have a twisted pop sensibility with upbeat rhythms, whereas other tracks, like "Gurka" and "Ich Hatte," are far more abstract and more bizarre. The ten bonus tracks include some never-before-released outtakes as well as stuff from rare compilations and cassettes, all first-rate material that matches the album cuts. Through it all, H.N.A.S. crafts a dadaistic trail through industrial, cosmic Krautrock, synth pop, musique concréte, and many other things as well, strangely juxtaposed in their own unique way. The Book of Deingenskirchen is not quite on par with H.N.A.S.'s finest work, Im Schatten Der Mohre, but it gets pretty close."

"The Book Of Dingenskirchen" was released by Dom in 1988, then re-released in 2002.

Get it here : H.N.A.S. - The Book Of Dingenskirchen

H.N.A.S. - Gegenstände Fallen Zu Boden

From Discogs.com : "H.N.A.S. (Hirsche Nicht Aufs Sofa) was founded by Achim P. Li Khan and Christoph Heemann in 1983. H.N.A.S.'s sound experimentation started in 1984 with a series of limited cassettes made for demonstration purpose or personal use. Their first LP release was "Abwassermusik" in 1985 (together with german experimental band Mieses Gegonge).
The group then recorded "Melchior" with Steven Stapleton, released on the United Dairies label the following year. Subsequent H.N.A.S. releases were mainly on their own Dom label."

"Gegenstände Fallen Zu Boden" was released by Dom Elchklang in 1994.

Get it here : H.N.A.S. - Gegenstände Fallen Zu Boden

H.N.A.S. - Willkür Nach Noten

From Allmusic.com : "This experimental/avant-garde project featuring Christoph Heemann was an '80s underground group often affiliated with the post-industrial scene surrounding Nurse With Wound, Coil, Current 93, and others. Their albums were absurd tape collage experiments that combine Krautrock, musique concrète, and surrealist approaches to their arrangements. For this album, the pieces all blend into one psychedelic suite that almost suggests a progressive rock approach to warped experimentation. With the atmospheres in a constant state of flux, the juxtapositions make for an unsettling and disturbing music which will hold much appeal to fans of the greatest absurdist group of the '80s, Nurse With Wound."

"Willkür Nach Noten" was released by Dragnet Records in 1993.

Get it here : H.N.A.S. - Willkür Nach Noten

H.N.A.S. - Musik Für Schuhgeschäfte

From Allmusic.com : "H.N.A.S., the German group closely associated with spliced cut-up masters like Nurse with Wound and Coil, pursued a similar object from their inception in the early '80s. The duo of Christoph Heemann and Achim P. Li Khan (aka Achim Flaan) formed the group, named it hirsche nicht aus sofa (the German is roughly translated as Moose Without a Sofa), and began issuing scads of cassette-only releases on their own Dom Records.

Their first major album, 1985's Abwassermusik reflected an interest in collages of samples, tape loops and found sounds, often repeated ad infinitum. For 1986's Melchior, an expanded H.N.A.S. lineup worked with the very sympathetic Steven Stapleton (of Nurse with Wound) and issued the album on Stapleton's United Dairies labels. The group released two more LPs during 1986-87, Im Schatten Der Möhre and Küttel im Frost (both on Dom).

Meanwhile, Heemann had begun working farther afield, with an assortment of figures in the noise underground. He recorded a remix-by-mail project with Merzbow (Sleeper Awake on the Edge of the Abyss), appeared with Illusion of Safety, recorded with H.N.A.S.'s own Andreas Martin, and released work as Mimir with Legendary Pink Dots mainman Edward Ka-Spel. Heemann's first solo work, the 1992 EP Über Den Umgang Mit Umgebung und Andere Versuche (released on Robot Records), effectively ended H.N.A.S. as a recording entity (though Achim P. Li Khan continued with two projects, Damenbart and Brigitte)."

"Musik Für Schuhgeschäfte" was released by Dragnet Records in 1992.

Get it here : H.N.A.S. - Musik Für Schuhgeschäfte

H.N.A.S. - Melchior

From Allmusic.com : "This obscure '80s German post-industrial group's second album originally appeared on Nurse With Wound's United Dairies label in 1986. The CD reissue features ten bonus tracks and serves as an excellent introduction to the early work of avant-garde composer Christoph Heemann, whose work in tape collage, industrial, electronica, and noise rock was central to the work of H.N.A.S.. The previously unreleased material includes compilation tracks and unreleased demos and the original album is remastered in its entirety. Melchior is an extraordinary experimental rock album in the vein of Nurse With Wound and P.16.D.4 which takes in German Krautrock and psychedelia influences; for 1986 this strain of experimentation was certainly ahead of its time."

"Meclhior" was released by United Dairies in 1986, then re-released by Dom in 2002.

Get it here : H.N.A.S. - Melchior

Otomo Yoshihide - The Night Before The Death Of The Sampling Virus

From Allmusic.com : "This conceptual recording by the Tokyo avant-garde composer was a groundbreaking experiment in deconstruction released in 1993. The piece is based on a system that exploits the malfunction of the CD player, whereby the listener is instructed to play the CD in shuffle mode to achieve a random replay of very small fragments of sound and thus hear an entirely different piece of music with repeated listens. Much in the way that Oval worked with the destabilization of the CD medium, Otomo Yoshahide applies a similar rhetorical approach to this complex noise work. Listeners should be warned -- according to the liner notes, the CD can actually cause damage to the CD player before destroying nerves, one's concept of music, and ear drums all in one go, which, to say the least, is quite an achievement. A milestone work in abstract electronica and avant-garde that is essential to collectors of audio terrorism."

"The Night Before The Death Of The Sampling Virus" was released by Extreme in 1993.

Get it here : Otomo Yoshihide - The Night Before The Death Of The Sampling Virus

Strafe Für Rebellion - Moor

Strafe Für Rebellion interview from Hyperreal.org : "For many listeners with an interest in unusual music, Germany has been an effective shangri-la. In the 50s and 60s, Karlheinz Stockhausen's movement from total serialism through improvisatory, process and electronic music represented the most obvious sign of German avant-gardism. In the seventies English-speaking listeners turned to Faust, Can, Tangerine Dream and Kraftwerk as the more accessible representatives of an adventurous tradition that never achieved quite the same recognition in Britain or America. In the eighties the name of Einstürzende Neubauten became best known, combining "industrial" methods of music making (found scrap materials, noise elements, dominant percussion etc) with a flair for exciting live performances. Throughout this period, the big names have tended to disguise the existence of hundreds of other innovators, so that only the afficionadoes are likely to be familiar with Gunter Schickert or Narwal. Of all the lesser knowns, I consider Strafe für Rebellion to be one of the most consistently innovative, and undervalued.

A duo of Bernd Kastner and Siegfried M. Syniuga, Strafe FR have existed since 1979. Over the course of several albums since then, they have developed a style of abstract instrumental music that owes a lot to their use of home-made instruments, found objects and field recordings, but is never subservient to them.

1989's Vögel compilation is perhaps definitive, containing tracks from as far back as 1981. Take Boston, recorded in 1988, and utilising "a goods train passing by, birds, howling wolves, steel nails beaten inside a steel pipe, blow with a hammer on a steel case, squeaking spring on a wooden holder of a roll of toilet paper, e-guitar played with a violin bow, male voice, wrist watch, beats on a metal tube (using foam)". None of these are gimmicks; the music that results combines brief snatches of rhythm with low animal / mineral drones and a groansome male voice to produce music of real imaginative power. Unlike other Düsseldorf groups whose music suits the city's image perfectly or is striving to escape it, Strafe FR's music is timeless and placeless; it may create an effective imaginative space in your head but it transcends any connection with a real place.

Strafe FR explained their musical techniques to me as follows: "As you probably know we do not use any electronic music instruments. We do not condemn electronic music instruments at all, it is just not our approach. One central aspect of our work is the use of field recordings, either wild or domesticated animals, machines and all kinds of noises that we think are peculiar in some way. We go searching for sounds during trips, we occasionally find them or we consciously go looking for special sounds (visiting a zoo, for example). When we do field recordings already some compositional elements come into being - they go beyond the pure documentary sounds and beyond the quality of our normal archive. We also use 'normal' music instruments and 'prepare' them, there are also self-made music instruments or noise machines. But we never use anyone else's pre-recorded sounds; we have never used samplers nor rhythm machines." They are also careful to point out that all the instruments they use and recordings they make are only tools; however peculiar they may be, Strafe do not see the use of these as an end in itself.

I don't know if Strafe would want to identify themselves as post-Cageian, but John Cage's ideas are clearly relevant to their music. If Luigi Russolo legitimised the use of harsh, mechanical noise as part of music, then Cage legitimised all other sounds, including the environmental recordings that feature prominently in Strafe's music. Their use of amplification on small sounds (such as the squeaking toilet paper holder in Boston) seems reminiscent of Cage's Cartridge Music, which amplified musicians playing directly on a record-player's stylus with tiny brushes. Strafe's Rising Sun makes the connection more explicit, as it employs the "grinding noise of a thin wire on the rotating turntable of a record player (amplified by a tin can)".

Another Cage connection is Strafe's approach to the use of conventional instruments. "We are interested in each and every 'traditional' (ie non-electronic) musical instrument that we come to know and that we find. No matter if it is a lute from 100BC, a Bechstein grand piano that is out-of-tune or an electric guitar. First of all we are not interested in handling those instruments in a craftsman's way, we are ready to drape those instruments, we torment and harass them. What is decisive is the sound itself, and not the esteem in which the instrument is held. This is also valid for musical instruments or sound-producing mechanisms that we have developed and built by ourselves."

This is one area where Strafe FR are way ahead of most of their peers; an interest in all sounds, a willingness to accept unorthodox ingredients for their musical recipe, and most important of all, an ability to create powerful, evocative music out of these unconventional sources.

Another area that makes Strafe of particular interest is their interest in extra-musical ideas, both as inspiration and information for their recordings. The "concept album" is, of course, not a new idea (nor one that it's easy to mention nowadays without sniggering!) But Strafe are perhaps unusual in the way that non-musical concepts often dominate musical theory in the way that they think about and produce their own music.

"The main idea in our work is of course a musical one! But the starting point can well find its origin in non-musical fields. When we make music we might have in mind a concept from a research scientist or an explorer such as James Cook. We have no interest in the kind of scientist working at BASF to develop a new sort of tape material. He is a professional man and just a narrow specialist. On the other hand, there is a scientist doing research on bird language. He created a bird language machine to carry out analyses. He got over the documentary method and proceeded into the music of birds and was able to differentiate the character of each kind of birds. He composed a symphony of bird language. By doing so he left his research realm and enlarged his interest - now he was no longer a specialist, and became a searcher who we are interested in. Another example of a non-musical model could be Erasmus of Rotterdam, as he broke conventions as well. Yes, as a rule we are more closely tied to non-musical models than musical ones. A musical model might be John Tavener, John Cage, or John Lydon.

"There are historical or biological models that can inspire our music. An example is when creating a drum rhythm, not to think about the measure, but about a Roman slave galley. The musical inspiration is not Kraftwerk, but a sick lion, Faraday rather than Stockhausen, a film about animals rather than Monteverdi. The music theory is never decisive or authoritative. In this sense, we do not plan to create a mood in minor or major."

Strafe extend their interest in non-musical factors to the way in which they affect the listener as well as the music-maker.

"Music is more than an acoustic phenomenon. The perception of music is dependent on the ability (and capacity) of the human ear - how the ear functions technically and how the brain is able to work out those informations, knit them together with the information from the other senses, your thoughts and your individual experiences."

1991's Lufthunger succeeded in combining several concepts into a coherent whole. Ostensibly, it is a 10-part symphony stretching from the Cambrian period of 530 million years ago through to the most recent 2 million years of the Quaternary period, describing and mirroring geological and ecological evolution. On a more musical level, it explores themes of gradual and catastrophic change, the sleeve notes pointing both to how human perception of prehistory is affected to a great extent by our negative view of catastrophes, and also to how in the much briefer history of music, sudden new developments have also been viewed negatively. Strafe FR suggest a third important influence: "Lufthunger could only be created in the year 1990. That is why it does not only deal with the pre-history! At that time the Gulf War ('Desert Storm') took place, which certainly influenced us emotionally and in terms of general atmosphere."

Strafe's next release, Öchsle, was a more lyrical project, illustrative of Strafe's continuing interest in language. "In Öchsle we used words that we 'translated' from an original Hamar (Ethiopian) chant into German in an onomatopoeic way - but the choice of words was not incidental ... We have also developed our own peculiar Strafe language according to our own special way of working. There is also the natural human (vocal) language and the musical language. That is why we have created several radio plays using our music as a soundtrack." The lyrics, composed of these 'translated' words, are left as a chant, and form the major element in several tracks, but several others are solely instrumental, exploring Strafe's usual wide choice of instrumentation and textures.

The most recent album, Moor, represents something of a surprise, as it turns its attention to the rock and pop music worlds. Of course, Strafe's own unique use of rock sounds and patterns swiftly removes the familiar framework in favour of music that retains the energy, textures and devices without having to pay too much lip-service to the form itself. "Moor should offer different opportunities and a variety of different musical windows. Moor of course also has a lot to do with our personal interpretation, how we both perceived the music of the past three decades, which the two of us have consciously heard and listened to."

However much the critic might want to dwell on the way Strafe FR recontextualise the familiar rock elements, the group's own vision is much less prosaic.

"If you take Moor as a landscape, it offers a lot of possibilities; either to drown, or to get marshy, or to get bogged down, or to get blinded by beauty. You watch a rare animal or plant and the next step there is muddy soil. There is a good smell of heather, but also millions of summer-gnats and the black grouse. A moor also has its unique acoustic. In the musical Moor there are some contact mines to be found; there are sloughs, poison snakes and slow-worms to be found in the world of pop music. After a short time big parts of pop music disappear inside of mud holes where they rot and decay. Occasionally some of this rises again as a moor corpse - these revived corpses appear in pop museums but they have historical relevance only, they are spent and past. The contact mines in the pop music can cause destructive explosions which give birth to new possibilities, or just create new holes in the ground.

"You need all your senses, feelings and personal atmospheres to experience music. It is important to push away your blinkers, the way of perceiving that automatically has the tendency to fall back into its old narrow position."

These wide open spaces have to be taken as an allegory, since as soon as you hear the galloping beats and electric noise of Moor's opening track, Bog Bay the images that come to mind won't be those of the quiet countryside. The instruments employed are more conventional than those that Strafe usually adopt - Schoolmaster II even consists only of piano and electric guitar - but the musical possiblities are as uninhibited as ever. On Stradivarius, which mixes distorted riffs with pounding drums, and inappropriately classical singing, it requires a quick double-take before you recognise the presence of the violin. As ever, it is the total sound that determines everything else, and Strafe's juxtapositions of melodic and noise elements are as striking as ever. There's even a sense of humour present, and in places it's very obvious:

"We are neither the first to use noises in music nor have we invented a new kind of music - noises itself are not yet music but they become music if we put them in the order of a composition. We are very much interested in language ... We do have a special Strafe humour. However, humour can be understood or it can be misinterpreted. We cannot prescribe humour. Humour can be a variant that stimulates every work."

Where next? Strafe do not play live very often, and then only for special events, rather than as part of a tour, but the possibility of an appearance in Britain has been suggested, and may yet come to pass. Keep an ear out, because whatever happens, it should be good."

"Moor" was released by Staalplaat in 1993.

Get it here : Strafe Für Rebellion - Moor

Strafe Für Rebellion - Öchsle

From the liner notes : "Strafe F.R. is Bernd Kastner and Siegfried M. Syniug. All words, noises and instruments by Strafe F.R. All recordings (1989-1992) by Strafe F.R. No electronic instruments were used. Mixed with Michael Grund at Grundfunk Studio Düsseldorf in March 1992."

"Öchsle" was released by Staalplaat in 1992.

Get it here : Strafe Für Rebellion - Öchsle

Strafe Für Rebellion - Lufthunger

From the liner notes : "Lufthunger is a hunger for space, a hunger for a spacious environment, a longing to look at the stars and landscapes. It is also a hunger for history. But humans, who might live to be 80 years old, must make a big stretch of the imagination to conceive of a timespan of 5000 million. It makes us quiver, and actuality melts.

Music cannot be interpreted as being naked and detached from the history of culture, and neither can it be detached from the time before man first appeared on this planet. The noises of prehistoric animals and the screams of Cro-Magnon man are beyond bounds, for in this context, pop music is as brief as a second in a year. So Lufthunger involves a search for new fields to question the old and to descend consciously into chaos - to create a new order, and then to question that too. For human beings who are used to think in moral patterns, catastrophes means something fundamentally negative.

Each change first of all is a threat! At times, there have been catastrophes in music that caused a shock to the system - to the way we think and to the way we hear - a danger to harmony. Human harmony is unbearable to nature. Chaos is an essential antecedent to rebirth."

"Lufthunger" was released by Touch Records in 1991.

Get it here : Strafe Für Rebellion - Lufthunger

Strafe Für Rebellion - Vögel

From Discogs.com : "A duo of Bernd Kastner and Siegfried Michail Syniug, Strafe Für Rebellion ("Punishment For Rebellion" - later known as Strafe F.R.) started in 1979. Over the course of several albums, they developed a personal style of abstract instrumental music that owed a lot to their use of home-made instruments, found objects and field recordings. They dissolved quietly in the mid 90s, after releasing the "Pianoguitar" album."

"Vögel" was released by Touch Records in 1989.

Get it here : Strafe Für Rebellion - Vögel

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]

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...