Akira Rabelais - invalidObject Series (void)

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

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

Donna Summer - Belligerent Super-Vision

From www.cockrockdisco.com : "A collection of new sample heavy songs, strong with rock flavor, but corrupted many times over through DSp and breakcore!

One of the real challenges of a label such as this is to try to create something "new", something that tries to bundle all of our interests into one semi-coherent package. While this may not be THE answer it's seems to be on the right track. Imagine semi-equal parts electro acoustics, arena rock style guitars, lots of hard breaks, and a good measure of rump-shaking, late-seventies disco. Oh, and there's plenty of raw noise too.

Will probably be issued on vinyl- consider this a sneak peak!

Super limited!!! Made by request!"

"Belligerent Super-Vision" was released by Cock Rock Disco in 2001.

Get it here : Donna Summer - Belligerent Super-Vision

Jason Forrest - Death Afterlife

From www.cockrockdisco.com : "No doubt you fell under the dark spell of Iron Maiden when you were a young teenager. Maybe you were next in line for satanic suburban child sacrifice but had fortune on your side. I remember sitting with my friend Craig in suburban South Carolina on countless afternoons while we cranked the Maiden. Craig had lots of "Eddie" T-shirts and posters. All I had was a Ratt poster because my parents thought it wasn't too evil.

There was always something really driving in the Maiden sound, something I had forgotten about until earlier this year. Listening to the records and cassettes now, I'm really impressed and inspired by the complexity, musicality and structure of the songs. While certainly no strangers to long, melodramatic finger-hammering guitar solos, Iron Maiden pushed the boundaries of showmanship with their ostentatious stage shows. Pyrotechnics, a giant rockin' Edie character and of course the huge stage props, made them pretty much the coolest band on the planet when I was 12.

So I had this idea to go back and digitally process this stuff. I started with 45 1-second samples from the "Best of the Beast" (a greatest hits) album. Most of what gets processed comes from this material. Then I digitized several whole sings from a cassette of "Live After Death" that I bought for .50 cents in a thrift store. (One particularly pretty section deals with the guitar solo from "Rhyme of the Ancient Mariner".) It's all processed with a number of programs and usually have been DSP'd several times and layered in odd ways.

It clock's in at 50:31 with 1 track.

Available in a limited edition of 100 CD-Rs."

"Death Afterlife" was released by Cock Rock Disco in 2004.

Get it here : Jason Forrest - Death Afterlife

Yoshihiro Hanno - 9 Modules.+

"9 Modules.+" was released by PROGRESSIVE FOrM in 2002.

Get it here : Yoshihiro Hanno - 9 Modules.+

Oh Astro (aka Jane Dowe) - Hello World

All tracks made by Jane Dowe with customized software.

"Hello World" was released by Illegal Art in 2005.

Get it here : Oh Astro - Hello World

Terre Thaemlitz - Lovebomb

From Allmusic.com : "After a few similar efforts for Mille Plateaux, the always-challenging Terre Thaemlitz returns with another intellectually charged electro-acoustic album, Lovebomb, that says a lot without saying much. Thaemlitz's preceding recordings for Mille Plateaux, particularly Interstices (2000) and Love for Sale: Taking Stock in Our Pride (1999), brought together abstract ideologies with ambient-glitch soundscapes, and so does Lovebomb, though much more coherently. The central idea here is fairly clear if you peruse the album's absolutely astonishing packaging (totally conceived by Thaemlitz) and take some time to think about what's presented: The underlying message here seems to be that love, perhaps the most celebrated emotion of all, is represented differently from culture to culture, and as paradoxical as it may seem, love is sometimes associated with destruction, which is metaphorically represented here by the notion of a bomb (as in, say, Islamic suicide/homicide bombings circa 2002). Thaemlitz conveys this message partly by delivering an album of dual languages, English and Japanese. Everything here, from the artwork to the liner notes to the recording itself, is represented in both languages. Chances are you'll not be able to comprehend both. If you do, you're in for a wealth of comparison, as that seems to be Thaemlitz's aim here: He wants you to see that love isn't as universal as most people sometimes think it is, as what seems literal in one culture translates differently in another. The notion of metaphor becomes central, at least from one likely vantage point, since the evidenced notions of love here -- the artwork, liner notes, field recordings, and so on -- are simply representations of a universal emotion that is communicated from culture to culture in a far from universal matter. As with most of Thaemlitz's albums for Mille Plateax, the ideas tend to outweigh the music, and here the packaging really steals the show, as it's outright marvelous, to the point where you even forget the music is playing. Furthermore, the timing of this album's release in early 2003, in the wake of the 9/11 disaster and on the eve of the Iraq crisis, seems particularly timely. Thaemlitz has released a lot of albums in his prolific and long-winded career -- some throwaways, some brilliant -- and Lovebomb is up there with the best of them, even if the music isn't too special."

"Lovebomb" was released by Mille PLateaux in 2003.

Get it here : Terre Thaemlitz - Lovebomb

Tetsu Inoue & Carl Stone - Pict.Soul

From Allmusic.com : "A first collaboration between Tetsu Inoue and Carl Stone, pict.soul has been released by the record label of Cycling '74, the computer company that produced the Max/MSP software. One could fear the album would turn into something like a demonstration tool, but it is not the case. The music remains computer-based electronica, but in general inspiration prevails over system requirements -- it sticks close to both artists' previous releases. Of course, each of them tugs on the bedsheets and the balance between Inoue's delicate, experimental ambient music and Stone's more jagged-edge constructions shifts from one track to the next. "%.disc" is pure Inoue: soft, insidious, and mesmerizing. "(.ram)" and "@.fine" are most probably Stone creations: busy, they build interruptions and glitches into something you could dance to if you had a third leg in the middle of your back. Everything in between finds the two compromising to find common ground -- and explore something new, as "?.digit" testifies. A sample (circus organ?) is literally orchestrated to form a mechanical fanfare. Interesting in concept, it is not completely convincing. Otherwise pict.soul is a fine CD recommendable to fans of Kim Cascone, Kit Clayton, and the like."

"Pict.Soul" was released by Cycling 74 in 2001.

Get it here : Tetsu Inoue & Carl Stone - Pict.Soul

Kurt Ralske - Amor.0+01

"Amor.0+01" was released by Sub Rosa in 2001.

Get it here : Kurt Ralske - Amor.0+01

Cathars - Amorpheus

Cathars was the moniker for Kurt Ralske's audio experiments. Kurt Ralske is now a video artist whose work has been exhibited internationally, including at the 2009 Venice Biennale, the Guggenheim Bilbao, and the Los Angeles Museum of Contemporary Art.

Kurt is the recipient of a Rockefeller Foundation Media Arts Fellowship, and received First Prize at the Transmediale International Media Art Festival in Berlin in 2003. Kurt programmed and co-designed the 9-channel video installation that is permanently in the lobby of the MoMA in NYC. He is also the author/programmer of Auvi, a popular video software environment in use by artists in 22 countries.

Kurt resides in New York City. He is currently a Visiting Professor and Artist-in-Residence at the Rhode Island School of Design, in the department of MFA Digital + Media. He is also on the faculty of the School of Visual Arts, NYC, in the MFA Computer Art Department.

Ralske was also the founder/leader of Ultra Vivid Scene.

"Amorpheus" was released by Miau Miau International in 1999.

Get it here : Cathars - Amorpheus

Rob Mazurek - Sweet And Vicious Like Frankenstein

From Allmusic.com : "Sweet and Vicious Like Frankenstein represents a normal step in light of the evolution of Rob Mazurek's music over the last decade. Still, it is probably not what you are expecting, especially if you take his previous solo effort, Silver Spines, as a point of comparison. There is not a cornet in sight; this album is all electronics. Mazurek uses a computer, a mini-disc, and a tone generator -- that's it. The approach has nothing to do with jazz, rock, or even free improvisation. It could be seen as a tribute to early musique concrète and computer music. It stands somewhere between sound collage, kitsch electronics, and noise -- and, if you can (or are willing to) get over the initial shock, this album is actually quite strong. There are two extended pieces. "Body Parts (Spectral White)," 40 minutes long, is an intriguing work progressing by episodes of four or five minutes, roughly pieced together like the parts of Frankenstein's creation. Some sections are strongly reminiscent of early electronic music (Vladimir Ussachevsky, Hugh Le Caine, Pierre Henry, Arne Nordheim), while other ones range from microsonic computer treatments to harsh sound experiments and field recordings. The early electronics bits come back regularly, acting like a leitmotiv and reinforcing the analogy with Frankenstein (experimentation in the infancy of a technology) and, through the character, with old horror movies. "Electric Eels (In Half Light)" is neither as conceptually rich nor as striking. In contrast with the previous piece, it presents a uninterrupted 25-minute flow of sounds, mostly harsh and escalating. Reference points include Kevin Drumm and Merzbow (although the piece is slightly less brutal than the latter's usual output). Sweet and Vicious Like Frankenstein could have been an episode of self-indulgence from a man who obviously likes to dip his fingers into as many bowls as he sees fit. Instead, it came out as a very honest effort in sound art, the work of a man who knew what he was doing, not a dilettante. Nevertheless, approach with caution if you were hoping for some abstract cornet playing."

"Sweet And Vicious Like Frankenstein" was released by Mego in 2004.

Get it here : Rob Mazurek - Sweet And Vicious Like Frankenstein

Vote Robot - In Meorm NA

From Allmusic.com : "An electronica duo from bucolic Kelowna, British Columbia, Vote Robot prided itself on using vintage equipment, creating experimental music with a palpable human warmth. Analog synths, doctored tapes, turntables, and mixing consoles were their favorite sound sources, to the conscious exclusion of computers, samplers, and other modern digital devices. The results were often compared to the pioneering glitch style of Oval, despite having taken a much different path to get there. Vote Robot members Kevin Rivard and Scott August first met when Rivard was August's babysitter. August developed a home-taping habit in his teens, and he and Rivard began collaborating in the mid-'90s, when August also released solo material under the name French Paddleboat. The first Vote Robot releases were cassette only, until Catsup Plate issued R.U.R. in LP format in 1995. Both of its pressings sold out completely, as did a more limited remix album, Versions, in 1998. Early the next year, August landed his first CD release as French Paddleboat with Conversions in Metric, and the resultant exposure helped draw more attention to Vote Robot as well. Their own debut CD release came in the form of 2001's In Meorm NA, issued by Vancouver indie Scratch. It was followed by another vinyl-only album, Five Score Six Bicycle."

"In Meorm NA" was released by Scratch Recordings in 2001.

Get it here : Vote Robot - In Meorm NA

Pimmon - Assembler

From www.fallt.com : "Assembler n. 1 a person who assembles a machine or its parts. 2 Computing a a program for converting instructions written in low-level symbolic code into machine code. b the low-level symbolic code itself; an assembly language.

'Assembler' is Sydney based artist Pimmon's first release on Fällt. His past releases have included 12"s on both Fat Cat and ERS; solo CDs on (K-RAA-K)3 and Meme; a live recording on Ritornell (with Pita, Fennesz, Oren Ambarchi and Keith Rowe) and an MP3-only release on Mego sub-label Fals.ch.

Comprising four separate components, 'Assembler' was conceived from the outset to be an ongoing release which pushed beyond the confines of a standalone CD. In addition to the core CD component, MP3 files, SimpleTextAudio™ by Japanese Media Artist and Fällt contributing editor Otaku Yakuza, and Graphic Scores by Fällt designers Fehler (who also designed 'Assember's' packaging), are available at the 'Assembler' website for free download.

Twelve static-soaked compositions which work both independently and as a suite, 'Assembler' is cinematic in both scope and execution. The most exquisite melodies are buried under dense layers of static which, like diamonds hidden within silt, reward close listening. Veering from the trademark stuttering pulses of the opening '%macro.prologue' to the gently unravelling fanfare of 'xlat' it reaches a peak in the buried melodies of 'repeat', which Mego's Pita described simply as, "Fine stuff!"

'Assembler' is an ongoing release which features web-based mixes and audio patches by a variety of collaborators. Past additions to this have included Fehler vs. Pimmon's 'The Diazepam Suite', currently playing at rand()%."

"Assembler" was released by Fällt in 2000.

Get it here : Pimmon - Assembler

Fällt Directions 2002

From www.fallt.com : "The 'Directions' Series provides an overview of work by selected Fällt artists - both from forthcoming releases and works in progress. Each release consists of four artists contributing three tracks each and features artwork by Fällt designers Fehler printed on transparent offset-litho film.

Ian Andrews is a Sydney based independent film, video and sound artist who has been practicing since 1981. A forerunner of Australian artists Pimmon and Oren Ambarchi, he has released works under a variety of guises both in Australia and internationally. 'Ceremonial', his first release for Fällt, was the inaugural release on Fällt burn-to-order sub-label Ferric.

A series of gritty audio montages underpinned throughout by detailed rhythms and exquisite textures 'Ceremonial' is a beautiful suite of tracks which cover a wide range of styles and sounds. Without question some of the best music we've heard in some time.

San Francisco based Willits studyied at Mills College where his tutors included, among others, Pauline Oliveros and Fred Frith. 'Pollen', his first release for Fällt, was released in 2003.

A collection of unique folded guitar recordings 'Pollen' grew from software architectures that Willits designed and improvised with. A set of processes that fragment and fold smooth guitar lines on top of and into each other, generating patterns within patterns, the result is a music that unfolds within the spaces of melody while not being restrained by those spaces.

Warmdesk is Chicago based artist Bill Selman. Previous releases by Warmdesk include: 'Prole Drift' [Static Caravan]; 'invalidObject Series (function)' [Fällt]; a split lathe cut 8" with Pimmon [A Posteriori]; and 'BiP-HOp Generation Volume 2' [BiP-HOp].

As Warmdesk, Selman combines dense, noisy harmonics and dub-like bass with rhythmic patterns and samples from everyday life. The result is a multi-faceted 'spray' of sound grounded by a pulse of polyrhythmic beats.

Co-host and curator of London's Sprawl club/label Douglas Benford's alter-ego(s) si-cut.db/si-{cut}.db/sidecut>>db… have been featured on the Sprawl Imprint and, most recently, BiP-HOp. 'Offices at Night [Volume I - Originals]', his second release on Fällt was released in 2004.

Warm dub, soaked in static - points of reference might include: Vladislav Delay, Thomas Köner, Pole and King Tubby (in no particular order)."

Tracklisting :
01. Ian Andrews - Recursive Toupee
02. Ian Andrews - Jaffa
03. Ian Andrews - Andevorato
04. Christopher Willits - Limnanthes
05. Christopher Willits - Flora
06. Christopher Willits - Stomata
07. Warmdesk - Rhetorical Move
08. Warmdesk - Plaster Casts + Letter Stencils
09. Warmdesk - Site
10. si-{cut}.db - Slavic
11. si-{cut}.db - Constance
12. si-{cut}.db - Confit

"Directions 2002" was released by Fällt in 2002.

Get it here : Fällt Directions 2002

Fällt Directions 2001

From www.fallt.com : "The 'Directions' Series provides an overview of work by selected Fällt artists - both from forthcoming releases and works in progress. Each release consists of four artists contributing three tracks each and features artwork by Fällt designers Fehler printed on transparent offset-litho film.

In late 2000 the URL for a series of MP3s was forwarded to us via an anonymous remailer by an artist working under the name 'Ted Sulkowicz'. We could find no reference to Sulkowicz or his 'Hotel California'-sampled 'Kid_Newtown' (released on Fällt digital sub-label Fodder) anywhere.

Who is the mysterious Mr Sulkowicz? Rumours abound, including one: that it is none other than Australian prankster Pimmon. Whoever, whatever; responses to the first Fodder release have been overwhelmingly positive. You listen, you decide.

Since 1998 Mathieu’s work has focussed on the digital processing of acoustic events, a process he describes as: "extracting sounds from homoeopathic vibrations at their source." The results of these explorations have been nothing short of startling with incredibly focussed tracks which retain the essence of the works they sample while sounding nothing like them.

'Frequency Lib.' is the culmination of this process and includes digital extracts of work by, amongst others: Jimi Hendrix, The Beatles, Kiss, Fats Waller, Hot Chocolate, Queen, Kraftwerk, The BeeGees, Captain Beefheart, The Beach Boys and Elvis Presley.

Warm analog dustscapes by former New Zealand based musician Aut. "All source material has been retrieved from the detritus of vinyl LPs and 7" singles collected over the years. The material itself ranges from discarded rock records and musical soundtracks to more 'serious' music including contemporary avant-garde improvisation and drone recordings."

Digital processing has rendered much of the original material unidentifiable, however due to the nature of these fragments, they may be recalled by some listeners. "Offcuts from surrendered vinyl."

'Directions 2001' closes with three sketches from Pimmon, the second of which 'Yemdatem' was subsequently featured on Pimmon's first release on Tigerbeat6 'Electronic Tax Return'."

Tracklisting :
01. Ted Sulkowicz - Kid_Newtown
02. Ted Sulkowicz - Kolc
03. Ted Sulkowicz - Black Dot
04. Stephan Mathieu - Clear Spot
05. Stephan Mathieu - Right Place
06. Stephan Mathieu - The Stomach Room
07. Aut - Soundtype
08. Aut - Home
09. Aut - Sero
10. Pimmon - Horizonalite
11. Pimmon - Yemdatem
12. Pimmon - Take The Piano Skin To Knowledge

"Directions 2001" was released by Fällt in 2001.

Get it here : Fällt Directions 2001

Pimmon - Kinetica

This is the fourth album from Australian artist Paul Gough, aka Pimmon.

"Kinetica" was released by (K-RAA-K)³ in 1999.

Get it here : Pimmon - Kinetica

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