Curtis Roads - Point Line Cloud (Asphodel, 2005)

01 Now (2003) 6:14
02 Eleventh Vortex (2001) 4:06
03 Half-life, Part I: Sonal Atoms (1999) 3:34
04 Half-life, Part II: Granules (1999) 2:44
05 Sculptor (2001) 3:13
06 Volt Air, Part I (2003) 3:16
07 Volt Air, Part II (2003) 2:35
08 Volt Air, Part III (2003) 2:15
09 Volt Air, Part IV (2003) 2:07
10 Fluxon (2003) 3:05
11 Pictor Alpha (2003) 3:23
12 Nanomorphosis (2003) 3:16
13 Tenth Vortex (2000) 3:01

only the CD release

Beneath the level of the note lies the realm of sound particles. Each particle is a pinpoint of sound. Recent advances let us probe and manipulate this microacoustical world. Sound particles dissolve the rigid bricks of musical composition-the notes and their intervals-into more fluid and supple materials. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as the density of particles increases. Sparse emissions produce rhythmic figures. By lining up the particles in rapid succession, one can induce an illusion of tone continuity or pitch. As the particles meander, they flow into liquid-like streams and rivulets. Dense agglomerations of particles form clouds of sound whose shapes evolve over time.
Curtis Roads

seems to be sold out visit Curtis Roads & Asphodel

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Daniel Menche - Concussions (Asphodel, 2006)

1-1 CD1 Track 01 8:26
1-2 CD1 Track 02 2:33
1-3 CD1 Track 03 2:29
1-4 CD1 Track 04 8:26
1-5 CD1 Track 05 7:49
1-6 CD1 Track 06 11:20
1-7 CD1 Track 07 4:52
1-8 CD1 Track 08 8:03
1-9 CD1 Track 09 3:15
2-1 CD2 Track 01 3:04
2-2 CD2 Track 02 1:44
2-3 CD2 Track 03 7:43
2-4 CD2 Track 04 8:16
2-5 CD2 Track 05 11:56
2-6 CD2 Track 06 3:31
2-7 CD2 Track 07 6:05
2-8 CD2 Track 08 2:14
2-9 CD2 Track 09 7:08
2-10 CD2 Track 10 3:14
2-11 CD2 Track 11 2:09

“All percussions and concussions created by Daniel Menche.” So says the inner sleeve and truer words were never spoken. What starts out sounding like a cover version of Steve Reich's Drumming—layer upon layer of pulsating percussion patterns—rapidly escalates into a thunderous inferno of Dionysian proportions. Once a gargantuan level of density is reached and the listener finds him/herself wholly trapped at the center of the vortex, the relentless onslaught becomes a Rorschach, its pummeling throb resembling the amplified patter of pelting rain at one moment and the violent thrum of rabid animal scratching the next. Disc one's track seven sounds as if the Portland-based sound artist placed a microphone at the center of a roaring fireplace or a hornet's nest (no surprise that the title of Menche's 1993 debut is Incineration).

Still, though Concussions adheres to its strict conceptual principle throughout, contrasts regularly emerge during the twenty untitled tracks. Patterns mirror one another in disc one's track three as their repetitions alternate from left to right while track four gathers them up and drops them into the center of a hellish cauldron, reducing them to a howling mass. It's at such moments that Menche's repudiation of the label 'noise artist' for 'sound sculptor' has merit and his so-called quest for 'vehement beauty' achieved. Interestingly, though the churning Concussions generally makes Reich's Drumming seem a microsound outing by comparison, Menche's drumming patterns move in and out of sync with one another in a manner that's not wholly unlike its renowned precursor. Yes, it's an overwhelming experience—literally so when the two discs total 114 minutes—and not a ride I plan on taking more than once, yet incredible nonetheless.
Textura

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(well if asphodel is a dead label, it seems this release can always be purchase here: http://asphodel.com/releases/view.php?Id=89)