Illusion Of Safety - Water Seeks Its Own Level

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

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

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

Jim O'Rourke - Terminal Pharmacy

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

"Terminal Pharmacy" was released by Tzadik in 1995.

Get it here : Jim O'Rourke - Terminal Pharmacy

Merzbow - Cloud Cock OO Grand

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

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

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

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

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

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

Get it here : Merzbow - Cloud Cock OO Grand

Nurse With Wound - Insect & Individual Silenced

From Allmusic.com : "Notorious in the vast Nurse with Wound catalog, Insect & Individual Silenced was so hated by its creator, Steven Stapleton, that the album went out of print and the master tapes were burned. Copies on auction sites went for beau coup dollars. Thankfully his mind was changed and the album finally made its digital debut in 2007 on Raash. Easily the most playful of early Nurse with Wound, Stapleton is joined by merry prankster Jim Thirlwell from Foetus and Trevor Reidy, who would go on to work with Danielle Dax and the Monochrome Set. Reidy plays drums, adding bizarre accents when and where he can, given the musical terrain, while Thirlwell's contribution consists of "playing" his amplifier by manipulating the jack-plugs and leads, generating unearthly buzzes and drones. As expected, Stapleton brings to the table many unidentifiable noisemakers, drones, bits of old records, and a playful sense of the psychedelic. Like many of the early NWW releases, Insect is more of an audio collage than an album of songs, each piece appearing improvised with a disregard for any type of song form. And that's not a criticism, it's what makes Stapleton's early work so unique, and in this case, fun. Reidy's loose and inventive kit-work on "Absent Old Queen Underfoot" consists of merely a snare and brushes, surrounded by a pastiche of kosmiche and John Cage from Stapleton. "Mutilés de Guerre," at a brief seven minutes, is like the early NWW efforts in a nutshell -- completely disorienting pitch-shifted screams mix with bizarre horn squalls, and howling feedback that eventually give way to a banjo and choir version of Beethoven's "Ode to Joy." More than other albums in the discography, it's hard to predict just what's going to come out of the speakers next, even after repeated listens. Recommended."

Side A :
1. Alvin's Funeral (The Milk Was Delivered In Black Bottles)

Side B :
1. Absent Old Queen Underfoot
2. Mutilés De Guerre

"Insect & Individual Silenced" was released by United Dairies in 1981.

Get it here : Nurse With Wound - Insect & Individual Silenced

Nurse With Wound - Psilotripitaka

From Allmusic.com : "A loose experimental project formed in 1978 by Steven Stapleton, Nurse with Wound explored abstract music -- influenced by Krautrock, freewheeling jazz improvisation, and Throbbing Gristle but including a heavy debt to surrealists Dali and Lautréamont -- with an overpowering release schedule of limited-edition albums and EPs. Stapleton worked with an ever-changing list of collaborators during the early years of Nurse with Wound, though Current 93's David Tibet has been the only frequent recording companion during the 1980s and '90s. Nurse with Wound's first three albums (Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella, To the Quiet Man from a Tiny Girl, and Merzbild Schwet) reflect a naked, minimalist slant with long periods of quiet suddenly interrupted by guitar chords inspired by the avant-garde wing of psychedelia/jazz-rock, chains, music boxes, and found-sound recordings."

"Psilotripitaka" comprises the following four albums :

1. UD00CD - The Ladies Home Tickler
2. UD01CD - Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella
3. UD03CD - To The Quiet Men From A Tiny Girl
4. UD04CD - Merzbild Schwet

"Psilotripitaka" was released by United Dairies in 1990.

Get it here : Nurse With Wound - Psilotripitaka

Michel Chion - La Ronde

From Discogs.com : "Michel Chion was born in 1947 in Creil (France). After literary and musical studies, he began in 1970 to work for the ORTF (French Radio and Television Organization) Service de la recherche, where he was assistant to Pierre Schaeffer at the Paris’ Conservatoire national de musique, producer of broadcasts for the GRAM, and publications director for the Ina-GRM, of which he was a member from 1971 to 1976. It was there that he met Robert Cahen, composer and video artist, and with whom he entered into a long-lasting friendship and collaboration.
Parallel to these activities, he composed musique concrète works in the studios of the GRAM including Requiem (Grand prix du disque 1978) and several concrète melodramas, a dramatic form which he inaugurated in 1972 with Le prisonnier du son (The Prisoner of Sound) and continued with Tu, 1977-85, La tentation de saint Antoine, 1984, and Nuit noire, 1985. Also worthy of mention are La Roue, cycle du quotidien, 1972-85, 24 préludes à la vie (24 Preludes to Life), Variations, and Sonate, 1989-91, Crayonnés ferroviaires, 1992, Credo mambo, 1992 — realized at Musiques & Recherches (Ohain, Belgium) —, Gloria, 1994… all works for which he developed original compositional techniques.
He also works as a theoretician in a new area: the systematic study of audio-visual relationships, which he teaches at several centres (notably at Université de Paris III where he is an Associate Professor), and film schools (ESEC, Paris; DAVI, Lausanne) which has developed in a series of five books. Besides the twenty written publications translated into a dozen languages, he has also written on Pierre Henry, François Bayle, Charlie Chaplin, Jacques Tati, David Lynch, diverse subjects on music and film; he has published in French and international journals, and has contributed to numerous dictionaries and encyclopedias. He has also commenced work in film direction and production with the short film Éponine (Prix Jean-Vigo, prizes in Clermont-Ferrand, and in Montréal). Most recently in 1995, he has begun an audio-visual piece entitled Messe de terre at the CICV Pierre Schaeffer in Montbéliard (France).
After having dedicated his Guide des objets sonores to the ideas of Schaeffer, he continued with Le promeneur écoutant, essais d’acoulogie, (Plume, éditeur, 1993), and finally with Musique, médias, technologies (Flammarion), a theory of sound based on language. In 1991 he published, with the support of Jérôme Noetinger, L’art des sons fixés in which he proposes, in order to properly designate this music, the return to the term ‘musique concrète’ in its initial non-causal sense. His redefinition insists upon the effects particular to the fixation of sound, a term which he proposes in place of recording."

Side A :
1. La Ronde

Side B :
1. La Machine A Passer Le Temps
2. On N'arrête Pas Le Regret
3. Tu (Mouvement 9)

"La Ronde" was released by INA-GRM in 1983.

Get it here : Michel Chion - La Ronde

Michel Chion - Requiem

From Allmusic.com : "Chion began splicing together tape making musique concrete in France in the '70s. The title track to this collection of pieces is a 37 minute 16 second dark, mysterious, and at times demented version of the classic "Funeral Mass." "Funeral Mass" is the basis for all classical requiems. While such classic requiems glorify the suggestion of eternal life suggested by the religious interpretation of death, Chion's work probes the existential panic of those living under the threat of death. A dark, kaleidoscope collage of cruel whispers, snippets of choral works, and eerie, segmented sacred string music promote a feeling of uneasiness and abandonment."

Side A :
1. Requiem Aeternam
2. Kyrie Eleison
3. Épître
4. Dies Irae
5. Domine Deus
6. Évangile

Side B :
1. Sanctus
2. Pater Noster - Agnus Dei
3. Lux Aeterna
4. Libera Me

"Requiem" was released by INA-GRM in 1978.

Get it here : Michel Chion - Requiem

Carl Stone - Kamiya Bar

From Allmusic.com : "Composer Carl Stone, known for his advanced work in sampling collages, was commissioned by Tokyo FM to construct a piece consisting entirely of sampled "sounds of Tokyo Life." Many of the sources are clear: street sounds, snatches of conversation, and TV commercials. But Stone has a track record of taking the familiar and stretching and distorting it to almost unrecognizable lengths, as well as combining disparate sounds into a surprisingly cohesive whole. This is done to fairly good effect here, as on "Axis," where a whirlwind of chatter is given a funky rhythmic accompaniment, giving one the sensation of giddily loping down a crowded Tokyo street. Similarly, "Cue" takes samples of male Japanese speakers (street-sellers?) and loops them into rounds that have a techno-y dancehall quality. Other pieces, like "Big Gold," are closer to pure musique concrète work, very reminiscent of Luc Ferrari. But there's a bit of a tentative, lab-experiment quality to some of these pieces, as intellectually fascinating as they might be. It's only with "Cooking Papa" that all the elements come together into a wonderfully rich stew, beginning with isolated shards and ultimately congealing into a driving, irresistible groove. Here, the dizzying, kaleidoscopic nature of what a Westerner might imagine when plunged into the vastness of contemporary Japanese culture becomes viscerally real. While the entire album is enjoyable enough, this one work makes it a must-buy both for Stone fans and for those who generally enjoy all the magic that can occur at the hands of a composer who knows what a sampler is capable of."

"Kamiya Bar" was released by New Tone Records in 1995.

Get it here : Carl Stone - Kamiya Bar

Zbigniew Karkowski - Consciously Unconscious, Unconsciously Conscious

From Allmusic.com : "Released in Metamkine's series of 3" CDs, "Cinéma Pour l'Oreille," and adopting its usual format of a single 20-minute piece, Consciously Unconscious. Unconsciously Conscious may destabilize at first. It is not a noise onslaught like listeners are used to from this artist. Yet, it remains focused on the physicality of sound. In the opening seconds listeners hear filtered voices, ghostly and with an uncertain purpose. The piece then dives into low-frequency rumbles. Listened to at high volume (and on a subwoofer if possible), they get under your skin to toy with your organs. For the next third of an hour, Zbigniew Karkowski sculpts these low turmoils, letting occasional strokes of high frequencies pass by, not painful flashes, just grey openings in the black fabric of sound. In the last three minutes, the composer drops the low range to produce high-frequency drones. None of this sheds light on the introductory voices. Skillfully constructed, the piece amounts to one big question mark made of dozens of smaller ones. Two of them are: Is it good? Should it be?"

"Consciously Unconscious, Unconsciously Conscious" was released by Metamkine in 2002.

Get it here : Zbigniew Karkowski - Consciously Unconscious, Unconsciously Conscious

Sensorband - Area/Puls

From www.sensorband.com : "Sensorband is the premier trio of virtual instruments. Each musician uses interactive electronics in a different way - making music from ultrasound, infrared, and bioelectric signals. They have created a band that takes a rock power trio as metaphor. Edwin van der Heide is the "vocals", working with ultrasound based 3D handheld controllers to perform infinite time stretching on digitally sampled vocal sources. Atau Tanaka is "guitar-bass" using muscle signals (EMG) and gesture to play air guitar, and low bass parts. Zbigniew Karkowski is "drums", playing virtual percussion in a cage armed with infrared beams. As a trio they reconcile new technology with the immediacy and energy of a rock group. With these new instruments the Sensorband musicians takes the group dynamic beyond the limitations of guitar, bass, and drums. The result is a powerful musical force of intense percussive rhythms, deep pulsing drones, and wailing melodic fragments.

Sensorband has also created a monumental 121 sq meter musical instrument called Soundnet.

The members of the Sensorband came together performing in the experimental music scene in Europe. Edwin and Zbigniew went together to the summer courses in Darmstadt. Atau met Zbigniew in San Francisco during a USA tour. They performed as soloists in the festival Sonimage at Tacheles in Berlin in 1993. A few months later, they premiered the Sensorband at Voyages Virtuels in Paris, then in 1994 at The Paradiso in Amsterdam. While geographical distance has prevented these musicians from performing together more often, this has been partially overcome by network technology. In 1995 the Sensorband appeared at the Sonar Festival in Barcelona, with Atau in Barcelona, and with Edwin and Zbigniew performing from Amsterdam via ISDN providing video and audio connections."



"Area/Puls" was released by Sonoris in 1999.

Get it here : Sensorband - Area/Puls

Peter Duimelinks / Frans de Waard

A split CD shared between Peter Duimelinks (head of V2 Archief) and Frans de Waard (head of Korm Plastics).

"Peter Duimelinks / Frans de Waard" was released by V2 Archief and Korm Plastics in 1993.

Get it here : Peter Duimelinks / Frans de Waard

Ralf Wehowsky - Nameless Victims

From Allmusic.com : "Ralf Wehowsky is one in a growing group of non-academic sound artists whose work is abstract, but very focused on the possibilities of sound and very rewarding over repeated listenings and different works. Although he started his musical career in the post-industrial scene, his musical output in the '90s resists categorization as well as casual listening. His sonic interests are wide, but it is perhaps his pursuit of the transformation of simple materials that distinguishes him from his colleagues.

On one of his albums, When Freezing Air Stings Like Ice, a common set of parameters is the foundation for all seven pieces, but the parameters that create the pitch curve for one track create the volume curve for another, and so forth. Thus, a common foundation becomes the generative force for a vastly different collection of pieces. His album Tulpas took the concept of transformation even further by inviting several other sound artists to participate in the process, creating a reflection and commentary on his own work unparalleled in contemporary music.

Wehowsky was born in 1959 in Mainz, Germany. In the '70s, his musical interests ranged from hard rock (the Stooges, Black Sabbath) to prog rock (Henry Cow, Faust), and free jazz (Ornette Coleman, Peter Brötzmann) to new music (Stockhausen, Pierre Henry). He became disillusioned with rock because it stopped being challenging and was too much entertainment, but shared a brief interest with punk because of its revolt against mainstream art. His earliest recorded work was with the post-industrial group Permutative Distortion (later called P.D. and finally recording as P16.D4), and in 1981, Wehowsky and his colleagues formed the collective Selektion, whose members worked in both acoustic and optical arenas. The culmination of P16.D4's recording career was a double LP, entitled Nichts Niemand Nirgends Nie!, released in 1986. This album already shows Wehowsky's interest in repeated transformations of a given set of material. It included two studio sides (one by P16.D4 and the other by many of the same musicians in a different project, S.B.O.T.H.I.), a side of live presentation of the same material, and a final side of specific transformations of the previous three sides. Although this album has not been specifically reissued, it has been used as source material for two CDs in the '90s, and has even been used on a collaborative CD released in 1999.

In 1992, Wehowsky released his first solo album under the name RLW. Most of his output in the '90s was collaborative, but he did release four additional solos (see discography below). His work in the '90s culminated in a five-CD set, Tulpas, where he invited several leading sound artists from all over the world to participate in a transformative process that took two years to complete. The participants themselves chose how to proceed, whether to use a structural approach or an emotive affect, or simply to do a remix. He sometimes transformed the pieces even after delivery in order to create a more perfect whole. Far more than a simple remix project, Tulpas is a model of collaborative transformation as well as a complex overarching vision."

"Nameless Victims" was released by Metamkine in 1996.

Get it here : Ralf Wehowsky - Nameless Victims

RLW - Acht

From Allmusic.com : "This album is divided into two sections. The first, Four Compositions 1992, is a collection of abstract pieces of sound art. "Restless Occlusion" is an exploration of the insides of a piano, with string scraping and prepared tones in addition to a little bit of straight playing. "Kleine Blaue Hybriden" is quieter, alternating between metallic rattles, buzzes, and ominous, bass-rattling drones. "In Acht" starts with single-note attacks like on a guitar, then reworks the resonance and harmonic signatures of the resulting notes. The final composition, "Is it?" is the most abstract of the four, sounding like feedback or radio waves before RLW's transformations. Again, he transforms the material by altering the attack or decay or applying filters to various parts, but the result is often delicate. The second section, Pop Tools, uses pop recordings as source material for a commentary on popular music. "Silent Calculus" uses a punk rock recording as an audible source, while "Über den Plan" uses circus-like organ sounds. "Hohe Mauern" is a pointillistic piece for piano and voice dedicated to poet Philip Larkin, which shows RLW's interest in the human voice (an interest which he will explore more fully on Pullover)."

"Acht" was released by Selektion in 1992.

Get it here : RLW - Acht

RLW - Tulpas [5 x CD Boxset]

From Allmusic.com : "Tulpas is a sprawling collection of reinterpretations and transformations of RLW's work through the early '90s by many of the major sound artists from around the world. Five CDs in length, almost six hours in total duration, the scale of the work is unlike anything else in recent sonic art. Over two years in realization, it combines two major aspects of RLW's work: that pieces themselves are in a permanent state of flux (as witnessed by the number of times RLW has reworked his own pieces over the years), and the collaborations, which provide him with new material and new impulses. Wehowsky invited the participation of the collaborees, but left it up to the individual participants to decide what approach to take. Different participants received different inputs, ranging from a score to sequences on floppy disk to original sound material on DAT. The starting points range from RLW's most recent pieces (including seven interpretations of Nameless Victims) to his earliest work with P16.D4. Most of the pieces take a single RLW piece as a starting point, but several cover the entire RLW catalog. The degree of collaboration also varied, in some cases involving several exchanges of material. When all the pieces had been delivered, Wehowsky edited, remastered, and sequenced them to the final form they have now. The CDs come in a cloth-bound book along with 40 pages of essays, notes, photos, and sketches. A "tulpa" is a term from Tibetan Buddhism and refers to the phantom projection of the bodhisattva in countless magic forms, and this collection shows RLW's sonic presence as manifested in the collaborations with so many luminaries of the late 20th century."

CD 1 :
1-01   Michael Gendreau - 2-NV-PO33M(0-20KC)preRAII-S
1-02   Jos Smolders - Through The Looking Glass
1-03   Runzelstirn & Gurgelstock - -
1-04   Noise-Maker's Fifes - Nameless Victims
1-05   Crawl Unit - One Clank In Loop Formation
1-06   In Be Tween Noise - Vein   Stems   Is   Calm
1-07   Eric Lanzillotta - Unrecognizable Compositions

CD 2 :
2-01   Artificial Memory Trace - Äwron Pt   1 & 2
2-02   M   Behrens - Quersumme RLW
2-03   Koji Marutani - RLW Assemblage
2-04   Lionel Marchetti & Jérôme Noetinger - -
2-05   Lionel Marchetti & Jérôme Noetinger - - -
2-06   Antanas Jasenka - Room Music

CD 3 :
3-01   Francisco Lopez - Untitled Piece
3-02   Christoph Heemann - Breaths Of Freezing Air
3-03   Bruno Moreigne - Virtual Eardrum
3-04   John Duncan - Split Second
3-05   Werner Durand - Third Monolith - Close-Up
3-06   Asmus Tietchens - Es Sei
3-07   Ryoji Ikeda - One Minute
3-08   Action Concret - Opka: Unlit
3-09   David Grubbs - Pullover
3-10   Das Synthetische Mischgewebe - Unworn Cellophane (Sliced Return)
3-11   Jim O'Rourke - Strictly Yours

CD 4 :
4-01   Toshiya Tsunoda - L: Movement By Induction; R: Limitative Current
4-02   Peter Rehberg & Ramon Bauer - Sometimes Titled
4-03   Peter Duimelinks & Roel Meelkop - Pierremi
4-04   Bruce Russell - Fried Eyes
4-05   N.N   Und Ähnliche Elemente - Erneut Gekreuzt Und Ausgemendelt
4-06   Toy Bizarre - KDI DCTB 42 - Heda!
4-07   Meeuw - Vier Mal Die Null
4-08   Achim Wollscheid - -
4-09   Jan Peter E.R   Sonntag - Between The Days Für Elektronik Und Das Sierra Bar Trio
4-10   Minoru Sato - -- In Blank / -- On Sound

CD 5 :
5-01   Brume - Kleine Blaue Hybriden
5-02   Kimihide Kusafuka - The Lowest Karlsruhe #2
5-03   Baraka[H] - Mutilated Monolith
5-04   Merzbow - Kleine Blaue Hybriden
5-05   Idea Fire Company - Silent Calculus
5-06   Jörg Thomasius - Phone Cumn Reallow
5-07   Brume - Wer Nicht ...
5-08   Husk - Sentiment Und Frohsinn 1983/1985/1996
5-09   John Watermann - Cows In ¾ Mourning, Maybe
5-10   Giancarlo Toniutti - Hal Qáygein Hal Qáalgan
5-11   Contrastate - Pierre Never Made It
5-12   Aube - Gegenraise
5-13   Frans de Waard - Waving Back

"Tulpas" was released by Selektion in 1997.

Get it here : RLW - Tulpas

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

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

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

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