Merzbow / Achim Wollscheid - Eleven Live Collaborations

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

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

Massimo - Hey Babe, Let Me See Your USB And I'll Show You My Firewire [3" CD]

This +20db session was done by Massimo with just one trumpet.

"Hey Babe, Let Me See Your USB And I'll Show You My Firewire" was released by Mego in 2001.

Get it here : Massimo - Hey Babe, Let Me See Your USB And I'll Show You My Firewire

Merzbow - Antimonument

"Antimonument" was released by ZSF Produkt in 1986, then re-released by Art Directe in 1991.

Get it here : Merzbow - Antimonument

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

Merzbow - Cloud Cock OO Grand

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

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

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

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

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

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

Get it here : Merzbow - Cloud Cock OO Grand

Restgeraeusch - 2x30 Min. 30 Sec.

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

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

Restgeraeusch - 1h/1min

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

Get it here : Restgeraeusch - 1h/1min

Throbbing Gristle - TG Box 1 [4 x CD Boxset]

 

 From Discogs.com : "The first real industrial group, the founders of Industrial Records and one of the most important electronic music innovators of all time. Growing out of the extreme performance art group COUM Transmissions, TG redefined music and laid a large part of the groundwork for all electronic music that followed.

From their first performances in 1976 to their last gig in San Francisco in 1981 (recorded and released as "Mission Of Dead Souls"), they challenged and threatend so-called "normal", society - denounced from the floor of the House of Commons as "Wreckers of Civilisation" as the Coum Transmissions "Prostitution" art show in London's ICA (at which TG played their third show) came close to causing riots and set the stage for the punk revolution.

Musically, they were extreme and uncompromising, using technology to make anti-music, which redefined music for all time. Their experimentation led them to pioneer sampling and looping techniques adopted by many of those who came after.

They split in 1981, with Genesis P-Orridge and Peter Christopherson forming Psychic TV (and Peter Christopherson later forming Coil) and Chris Carter and Cosey Fanni Tutti becoming Chris & Cosey. However, they came back together 23 years later in 2004 to plan an ill-fated weekend festival, which became a one-off recording session in London when the festival fell through, releasing a limited TGNOW album of the recordings."

"TG Box 1" was released by The Grey Area in 1993.

Get it here : Throbbing Gristle - TG Box 1

Donna Summer - This Needs To Be Your Style

"This Needs To Be Your Style" was released by Cock Rock Disco in 2003.

Get it here : Donna Summer - This Needs To Be Your Style

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

Antenna Farm - Fog / Splinter Tracks

Antenna Farm is a London based duo formed by Davin Howell and The Experience.

"Fog / Splinter Tracks" was released by Phthalo in 2001.

Get it here : Antenna Farm - Fog / Splinter Tracks

Organum & The New Blockaders - Salute

"Salute" was released by Frux in 1984, then re-released by Aeroplane in 1991 and by Robot Records in 2001.

Get it here : Organum & The New Blockaders - Salute

Costes - Lung Farts

From Discogs.com : "1000% french underground-trash artist since 1985 in Paris. Jean Louis Costes didn't know to play any music instruments, so, one day, he choose to play Synthetizer... A mix between the american trash artist GG Allin, bad pop music, noise and... Costes Style.
He run around the world to diffuse his music, in small 'porno social' show, very trash & nude.. And of course, more people who don't know who he is, HATE... and I think it's a 'cheap' word :)
If one day, you see a promo to Costes in your town, please let's go to see... It's not Universal Music!"

"Lung Farts" was released by Costes Cassette in 1989.

Get it here : Costes - Lung Farts

Pimmon - Waves And Particles

From Allmusic.com : "The folded and chopped, glitchy ambient of Sydney, Australia's Paul Gough and his Pimmon project can be traced back to a mid-'80s obsession with Severed Heads and a self-released cassette packaged in a mangled safety boot wrapped in plastic. Raising a family in the suburbs of Sydney, Gough found work as a senior engineer for a popular radio station but continued creating experimental laptop electronica in his home studio. After the non-response to his first cassette, Gough sat on his recordings at first, but a hesitant entry into a turntablist exhibition at the Tenement Gallery in Melbourne changed everything. At the urging of the galleries owners, Gough sent a CD-R to the Japanese Meme label. Meme released Pimmon's debut CD Waves and Particles in 1999 and Kid 606 offered Gough a deal with his Tigerbeat 6 label after hearing an Internet broadcast of the album. 2001 saw the release of Electronic Tax Return on Tigerbeat 6 and the CD and MP3 set Assembler on the Irish label Fällt. Live appearances around the world followed along with releases on Staalplaat and Sirr afterward. Pimmon's relationship with Tigerbeat 6 resumed with the release of Snaps Crackles Pops in 2003."

"Waves And Particles" was released by Meme in 1999.

Get it here : Pimmon - Waves And Particles

Merzbow + Pan Sonic - V

From Allmusic.com : "V is the concert (a world premiere) Merzbow and Pan sonic played at the 2002 Festival International de Musique Actuelle de Victoriaville. A highlight of that edition, the performance has been reviewed by many music critics, and it's funny to see how they split between two groups: those who think that Merzbow was maximizing Pan sonic's input and those who think Pan sonic were filtering Merzbow's harsh sound material. But on listening to the CD, it becomes obvious that it was wrong to try to find such a simple chain of action. It was also wrong to think that Merzbow had to be the one providing the concrete walls of noise and that Pan sonic had to be responsible for the more staccato glitches. In fact, the Finnish duo's collaboration with Peaches and Ilpo Väisänen's involvement with Schneider TM as Angel prove that they can get very noisy and brutal on their own. There is too much diversity, too wide a dynamic range unfolding on V to say anything specific about individual contributions. Despite the two-headed billing as Merzbow & Pan sonic, this continuous 68-minute improvisation features a genuine group sound that transcends either artist's persona, although one could say that fans of Pan sonic's more delicately pulsing works might feel a bit lost. The performance includes some very harsh passages but also some fascinating interplay at lower volumes. Recommended as a highlight in both artists' lists of collaborations."

"V" was released by Les Disques Victo in 2003.

Get it here : Merzbow + Pan Sonic - V

Jazzkammer - Pancakes

From Allmusic.com : "Jazzkammer has called Pancakes its "punk" record, but anyone expecting something even noisier and more energetic than earlier releases from the Norwegian experimentalists will be seriously disappointed. After 15 seconds of electro-noise-spasm on the first track, "No Place Like Home," the disc settles down for something very quiet and minimal, with the levels so low that at many times you can't hear anything unless the volume is cranked way up. The remainder of "No Place" consists of very low-pitched rumbles and the next track, "Vet Ikke," builds slowly on high-pitched drones, whereas the remaining pieces fall somewhere in between. In places, there are glitchy pops and sputters and clicks, even a "psst" can be heard in the middle of one track, and most of the pieces build and develop slowly rather than remain static."

"Pancakes" was released by Smalltown Supersound in 2002.

Get it here : Jazzkammer - Pancakes

Etant Donnés - Mort Aux Vaches : Le Sang Est Le Mur De L'Étoile

"Mort Aux Vaches : Le Sang Est Le Mur De L'Étoile" was released by Staalplaat in 1998.

Get it here : Etant Donnés - Mort Aux Vaches : Le Sang Est Le Mur De L'Étoile

Kinothek Percussion Ensemble – Industry!

An album dedicated to the impassioned spirit of Luigi Russolo, and this record indeed sounds a bit like Vivenza.

"Industry!" was released by No Man's Land in 1992.

Get it here : Kinothek Percussion Ensemble – Industry!

Big City Orchestra - Greatest Hits and Test Tones

Nostalgie De La Boue is currently posting loads of gems from Big City Orchestra, so here is our little contribution to this essential band.

From Discogs.com : "One of the most idiosyncratic and original groups of the past two decades, BCO is not your standard Orchestra. Situated in the greater San Francisco Bay Area, the band has released an enormous catalog of recorded material over the past two decades. Formed in the late 1970's the ensemble continues to maintain a free-flowing roster of artists from around the world that collaborate on specific projects. Categorizing the Orchestra into any given genre can be a task, as releases continue to surprise even the most devout listener. There is never any way to precisely classify the next BCO release. An album of authentic sea-shanties? A wall of noise? A shimmering downpour of lullabies whispered to the wind? A humorous or thought-provoking album of Sound Collages? Vocal excursions set to make Rod McKuen blush? We press play, leaning forward with slight apprehension. We await the first wave of blissful deception. We are perpetually rewarded."



Track 2 : Mixed by John Duncan
Track 4 : Mixed by Brook Hinton
Track 6 : Mixed by Monte Cazazza
Track 8 : Mixed by GX Jupitter-Larsen

"Greatest Hits and Test Tones" was released by Pogus Productions in 1993.

Get it here : Big City Orchestra - Greatest Hits and Test Tones

P16.D4 - Acrid Acme (Of)

Section 1 : All tracks of this section are based on material recorded in 1981 wich was treated and recomposed in 1987. The idea was to work with early rock-recordings in a non-nostalgic way analysing the relations between actual and early-80s approaches.

Section 2 : Consists of compositions featured on the Captured Music Festival, february 1987. Since the performance was denominated by confrontation and combination of acoustic and optic elements, the tracks were rearranged as "pure acoustic" features.

Section 3 : Whilst the tracks of the other 3 sections are composed with studio-techniques these are improvised direct-to-tape.

Section 4 : P16.D4 & Merzbow.

From the liner notes : "It's anti-social to play this record in public."

"Acrid Acme (Of)" was released by Selektion in 1989.

Get it here : P16.D4 - Acrid Acme (Of)