Aidan Baker - Ice Against My Skin (Arrêt Arrêt Recordings, 2004)

1 The Shape Of Your Damage (15:39)
2 Ice Against My Skin (17:12)
3 The Sun Is Bleeding And Has Black Hands (15:06)

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Hands To - Croatoan (Alluvial Recordings, 2000)

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1 Untitled (27:35)
2 Untitled (27:33)

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Seth Nehil - From Cloud To Seed (Alluvial Recordings, 2000)

A1 Cloud
A2 Leaf
A3 Soil
B1 Crystal
B2 Stone
B3 Seed

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MNortham - Many Rivers Move Along The Surface Of The Magnet (Isomorphic Records, 1995)

A Part I
B Part II

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Jonathan Coleclough - Windlass (Korm Plastics, 1999)

1 Windlass (41:06)

In this korm plastics introductionary paperback, jonathan coleclough presents the meandering 41 minutes of windlass. His sound construction turns slowly, pulling in worlds of aural wonder.

A rippling drone and higher pitched effervescence tinged with faint digital grit swirl in almost-orchestral movements as the intertwining elements coil and release, slowly writhing in time and space. A visitation from a softly warbling entity ensues, along with other organically chittering lifeforms heard from within the placidly roiling mix. Things lull somewhat with deeper undertones surfacing, their lows blurting out occasionally and spreading over the quietly buzzing backdrop. More minimal arrangements follow, with only (intermittent) bass and (continual) buzz exerting their forces, to be swept over by a faraway windstorm (and once or twice maybe a truck?). Another almost imperceptible transformation evolves as feedback tendrils spiral through the atmosphere; the bass and buzz seem to join forces, growling together in unison beneath screechier frequencies, which also eventually more-or-less synch with the resonant droning. The united soundwaves surge together in a powerful organ-like resplendence, then fade to reveal familiar tones from the intro, which disappear as well.

Intriguingly abstract, jonathan coleclough's windlass cycles through assorted phases, reeling in long tonal scenes and radiant drones, as well as an AmbiEntrance 8.6 rating.
AmbiEntrance

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irr. app. (ext.) - Their Little Bones, Becoming Sharp, Find Repose But Fail To Avoid Worrying A Breach In The Ghostly... (Errata In Excelsus, 1999)

1 The Minstrels Of Collapse, Overcome By Nausea And Remorse, Provide A Fanfare For Nothing In Particular (7:03)
2 The Absence Of Gravity Is Burned, Entirely For Posterity's Sake (10:11)
3 A Confluence Of Trivialities Coagulate Into An Unspeakable Whole (4:44)
4 From Out Of The Loins Of Pestilence: Joy (7:15)
5 The Civil Mechanism Is Dismantled By The Beasts Of The Field (Extinction Provides A BluePrint For An Animal Without Boundaries) (7:51)
6 Concerning The Appearance Of The Last World Mushroom: The Which Shall Promote And Inhabit The Time That Is The End Of All Times, Even Subsequent To The Immersion Of The World Beneath A Great Deluge Of Waters, Both Ginger'd And Sugary, And Across The Face Of Which It's Manifestation Shall Engulf The Entirety Of The Kingdom Of The Earth (13:50)
7 The Final Sound Before Silence Is The Only Remaining Possibility (1:24)
8 Silence (2:04)

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Dada Lives - Footsteps Overhead (Nil, 2002)

1 Untitled (28:22)

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Life Garden - Plutonian Dub (Drone Records, 1996)

A Plutonian Dub (7:03)
B Chaos Lullaby (7:06)

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Die Feinen Trinkers Bei Pinkels Daheim - Froschdosis (Drone Records, 1996)

A A O B (8:04)
B1 T X A₂ (4:11)
B2 Z U K (4:03)

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Bad Sector - Dolmen (Drone Records, 1996)

A Jackie 1954 (5:55)
B Lisa 1912 (5:57)

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Phonography.org 5 (phonography.org, 2003)

1 Heath Yonaites Expressway Overpass Girder (3:53)
2 Toy Bizarre KDI DCTB 053 [FR50] (Railway Station Static) (4:54)
3 Chris Knapp Yoyogi On/Off (7:27)
4 Steve Barsotti Train Yard Presence (5:31)
5 J. Frede Tarp Blowing In The Wind, Prague, Czech Republic (4:50)
6 Yannick Dauby Kiling Kelang (2:02)
7 Eric La Casa Moulin De L'Écornerie (Mill Of Ecornerie) (5:10)
8 Dave Knott Making Fire With Russ (5:03)
9 Jon Tulchin Fly Swarm (3:18)
10 MNortham Ancient Sewer Pipe, Valletta, Malta (4:38)
11 Edward Ruchalski Coast Guard, Oswego Station (5:35)
12 Claudio Chea One Minute Eruption And Ground Static (Volcano Areal, Costa Rica) (2:28)
13 S. Arden Hill Snowfall In December (Recorded With Tinfoil) (4:46)
14 Gintas K Invite Round For A Coup Of Tea (12:51)

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Meme (Meme, 1998)

1 Stilluppsteypa Audible (By Hand) (6:16)
2 Ryoji Ikeda Interference (5:00)
3 Carl Michael Von Hausswolff Dawn City Spell With An Intense Of A Heavy Bound (7:37)
4 Sukora Parks (4:01)
5 Rehberg & Bauer Ned/Ben (3:36)
6 Ultrasound Piloting Vs. The Glass Suits (4:19)
7 Taku Sugimoto Sonata For Long Long Cake (7:17)
8 John Hudak Winter Rain Watching The Sky From My Window (9:53)
9 Jim O'Rourke There's Hell In Bern (5:48)
10 Tamaru Darkstar (8:34)
11 Marc Behrens Memetic Junk (10:05)
12 Loren Mazzacane Connors 3 Pieces (5:00)

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Tony Conrad , Tim Barnes & Mattin - Untitled (Celebrate Psi Phenomenon, 2006)

1 Untitled (60:48)

La légende vivante du drone Tony Conrad, le bruitiste Mattin et les gongs de Tim Barnes réunis pour une performance live en avril 2005 à Buffalo, et tout ça sorti sur le label de Campbell Kneale: du bruit qui part dans tous les sens...

Face-flattening trio generating walls of pure steel drone, puckering shaved-string assault and all-out heavy gravity. Featuring Tony Conrad, Tim Barnes (Tower Recordings et al) and 'anti-copyright' laptop artist and conceptualist Mattin. "Time to dig out that old crash-helmet from the back of the wardrobe to meet the challenge of this head-wrecker. No folks, this recording will not go down in history for its subtlety. The obligatory chair-shuffling intro quickly gives way to the most withering scree-ee-ech and grubby microtonal shudder in a near-Stalinist attempt for total mind control. I can see the audience now... blubbering and gripping the chair in front like some kinda airliner catastrophe! A twenty storey Hoover gobbles the entire North East of the USA... pausing only briefly to empty the bag and replace smoldering fuse wire. Hard, harmful, full of choking dust... toasters are shorted out all over the northern hemispere and cassettes are erased in car stereos. Electricity decides upon a new master and casts off its cumbersome rubber shackles... free and burning... singing hallelujah to the great cosmic soundcheck in the sky." - Campbell Kneale.

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Steve Roden - Forms Of Paper (Line, 2001)

1 Forms Of Paper (54:01)

Presqu'une heure de manipulation de pages d'un livre, pièce créée pour l'exposition Art in the Libraries Exhibition...

Los angeles artist steve roden often reconfigures physical objects and spaces in his recordings and installations, in pursuit of 'possible landscapes'. that is, by abstracting objects, architectures and field recordings through electronics, he creates new audio spaces. he refers to his microsonic aesthetic, which at times shares affinities with bernhard gunter's hushed work, as "lower case sound" or "sound concerned with the subtlety and the quiet activity of listening". fittingly, "forms of paper" is an expanded version of a recording initially designed for installation in the los angeles public library which dealt with the materiality of the printed page. all of the sounds on "forms of paper" are derived from the turning and touching of book pages, but the way that they've been processed and reconfigured with protools strips out any obvious sonic hallmarks. what's left is a shifting constellation of crackles, rustles, and static, swirling together eddy upon eddy of clicks into a pouros drone. it's certainly not a vast imaginative leap to imagine these sounds as a sort of sonic metaphor for the surface of paper viewed under magnification, cratered with the natural grain of compressed pulp, littered with dust, and scraped with angled light. Indeed, the narrow scope of roden's conceit contributes the work's success. his philosophical interest is summed up in a quote from hiroshi ogawa: " when you hold a clean immaculate piece of paper, no matter what size it may be cut or folded into, you can find the meaning of its form there. it is clear that the surface of the sheet encloses infinite space." like the object that it takes as its point of departure, "forms of paper" unfolds from a nominally two dimensional plane into a space shot through with hidden depths and cavities, each one a wormhole leading to a realm as full of possibility as silence itself.
The Wire

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Alan Lamb - Night Passage (Dorobo, 1998)

1-1 Night Passage (24:51)
1-2 Last Anzac (12:54)
1-3 Meditation On SPring 8 (12:11)

Alan Lamb's compositions from telegraph wires is one of the more powerful examples of long wire music. Unlike wire composers Ellen Fullman or Paul Panhuysen, Lamb uses large outdoor installations and the natural wind currants to gather his original recordings, which he then assembles in the studio to create his extended pieces. Night Passage and Last Anzac both use the Faraway Wind Organ, a ten-mile stretch of abandoned telegraph wires that Lamb found and purchased in Western Australia in the mid-1970s. Night Passage is very dramatic, using crashes of metal on metal, the crackling of the telegraph poles, and enormous reverberation to create an organic but stormy sense of the wild Australian outback. Last Anzac retains the reverberation, but has very few of the metallic events that punctuate Night Passage, concentrating more on the drones created by the wires as they are blown about in the wind. "Meditation on Spring 8" was played on a wind organ built for a Japanese festival celebrating the opening of the SPring 8 Synchotron, a huge electron accelerator built in Kobe. Lamb briefly discusses the uniqueness of each wind organ, and one can hear this difference in this recording. The Meditation is quieter, more harmonious, bringing out the natural harmonics of the long wires. Lamb plays the wind organ with a bamboo bow, but below the drones one can hear the water from a typhoon that struck the area around the festival, drying on the wires. All three pieces on this album use the wind and wires to communicate a majesty that is difficult to achieve only using studios and electronics. These qualities make Lamb's pieces outstanding examples of a music that seeks to plays on a connection with nature, the decaying manmade infrastructure, and contemporary sound art.
All Music Guide

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Alan Lamb - Night Passage Demixed (Dorobo, 1998)

2-1 #13 (Ryoji Ikeda Remix) (8:02)
2-2 Kyros (Thomas Köner Remix) (9:53)
2-3 Fragmented (Lustmord Remix) (19:12)
2-4 Untitled 1/96 (Bernhard Günter Remix) (20:19)

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Sarah Hopkins & Alan Lamb - Sky Song (Vox Australis, 1989)

1 Sarah Hopkins & Alan Lamb The Winds Of Heaven (3:40)
2 Sarah Hopkins & Alan Lamb Sky Song (11:24)
3 Sarah Hopkins Cello Chi (13:03)
4 Alan Lamb Mirages (10:36)
5 Sarah Hopkins Flight Of The Wild Goose (14:42)
6 Alan Lamb & Sarah Hopkins New Journey (7:21)

The music of Sky Song was composed by Sarah Hopkins and Alan Lamb between 1985 and 1988. It was commissioned by Brown's Mart Community Arts Project, Darwin, with funding from the Australian Bicentennial Authority and the Music Board of the Australia Council. Performance of the music took place in Australia and New Zealand during 1988 within the Sky Song Music and Dance Production.

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Alan Lamb - Primal Image (Dorobo, 1995)

1 Primal Image (16:52)
2 Beauty (29:33)

Deux drones dont le matériel de base est l'enregistrement de lignes téléphoniques balancées par le vent...

Recorded between 1981 and 1988, Primal Image is a recording of repetitive, gradually shifting frequencies with no other accompaniment to dampen the effect.
All Music Guide

These tracks were constructed in 1988 ("Primal Image") and 1986 ("Beauty") as a series of segments averaging several minutes each, with transitional overdubs at the seams, and with heavy use of EQ for harmonic balance and noise reduction. About 20 hours of source material was recorded using contact microphones on telephone wires over a cumulative period of 10 days in November 1981 ("Primal Image") and April 1983 ("Beauty").
Alan Lamb

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Hithlahabuth - (Drone) (Drone Records,

A Didge-Drone (6:47)
B Drown-Drone (8:35)

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Yen Pox - Deliver (Drone Records, 1995)

A Deliver (8:48)
B Remove (8:51)

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