unfinishednovellas.com

http://thenoiseboy.wordpress.com/2008/10/11/the-many-sides-of-jons-recor...

1. Circle Katapult
2. Bruce Springsteen Magic
3. Dinosaur Jr Beyond
4. Jesu Conqueror
5. Lifetime s/t
6. Spoon Ga Ga Ga Ga Ga
7. Justice Cross
8. Liars s/t
9. Animal Collective Strawberry Jam
10. Battles Mirrored
11. Nine Inch Nails Year Zero
12. Wilco Sky Blue Sky
13. Dungen Tio Bitar
14. Panda Bear Person Pitch
15. Ryan Adams Easy Tiger
16. M.I.A. Kala
17. Jesse Malin Glitter in the Gutter
18. Arcade Fire Neon Bible
19. The Ponys Turn the Lights Out
20. Broken Social Scene Presents Kevin Drew Spirit If...

There is much I haven't heard, but that is the list at year's end.

The jazz article I've worked so hard on the last few months: online now...

http://www.peoriamagazines.com/as/2008/jan-feb/finding-jazz-peoria

Check it out!

I had no idea, of course, that one of my cassette selections at a New Mexico record store would compel a blog post years later...

http://puzzledpanther.blogspot.com/2007/12/wont-you-lay-me-down-in-tall-...

OK, the strangest thing happened to me just now. I'm in the basement, reading and listening to Draw the Line by Aerosmith for the first time in years--and lovin' it. So the record is over...I flip through my "to-listen-to" crate to find another record. So what do I put on?

Tougher than Leather, by Run DMC.

I seriously did not even "get" the obvious connection until 30 seconds into "Run's House." So weird.

So what would Jung say?

Thanks to Matt, a God when it comes to selecting birthday presents!

• Missed the Springsteen show, sadly
• Great October meeting for LMP
• Lots of progress at work and on site
• To-read pile getting taller, but still no books. Okay, one. But it's thick.

• More boards
• Exciting meetings in the works
• No time, but that's okay
• find a way, dummy

• juanGoblin
• unfinished novellas
• jdw23

Google say:
Did you mean: unfinished novels

I go back and forth, how much of myself to put on the web. In the end, I figure go with it. No sense fight fate. Split personalities is no fun.

Now this guy, he's a real genius. We'll be "doing lunch" Wednesday.

N/P Sonny Sharrock Band - Seize the Rainbow
(An incredibly good record considering how god-awful '80s the digital artwork and layout is)

So Eucalyptus by Pitchfork (pre-Drive Like Jehu) arrived in my mailbox today. I've lusted after this record for a loooong time...at one point, it was sort of a holy grail to me.

It came out in 1990, but I didn't get heavily into the Touch & Go scene until '94, just as the whole indie/noise rock thang was hitting its peak, by which time THIS record was already long out of print.

I burned a copy off a friend in Denver back in....oh, probably 2002 or so, but it was stolen out of my car shortly thereafter.

I'd bid on this five or six times on ebay before I finally won a copy...and a steal at $4.99!

It's a very good record, no doubt. But I can't help but wish I had found a copy of this back in the mid-nineties...when I REALLY would've gone apeshit over it.

Right now, I'm far more interested in the Thin Lizzy record that also came today.

N/P Thin Lizzy - Live and Dangerous

It’s been nearly a month since I swooped into Denver for a 36-hour whirlwind visit to witness the reunion of Christie Front Drive for Denver Fest.

At this stage of my life, it takes a lot for me to jump a plane cross-country just to see a band. There’s precious few I’d do it for, and this was one.

It was definitely Gared that first turned me on to CFD…must have been ’95 or ’96. I remember when I heard the first record for the first time, I was less than impressed. It wasn’t long, though, and I was hooked.

I remember taking off work and driving up to the Fireside solo—for some reason, no one could go with me that night—to see them play at the Fireside. This was mere weeks before they would break up, must have been early ’97. I bought the second LP at the show along with the Broken Hearts are Blue record.

Nothing brings me back to my ghetto days at Frink (officially, Dec ’96 – Aug ’97) like that second Christie Front Drive record. That drum machine intro is permanently mapped to the blue light glow of the living room in my mind.

I remember how excited I was to move to Denver—the hometown of Christie Front Drive. The Blue Ontario were together, and they were a close match, but ended shortly after we got there.

I’m stoked to have gotten to know Jason of CFD briefly before he took off to Portland. Seeing him several weeks ago for the first time in seven (!) years was amazing. We reminisced about watching Lee Scratch Perry in Boulder and the insanity of Fourth of July, 1999—when I nearly set myself on fire, literally, among other things.

I was at the club early with Gared and Mike and witnessed the sound check. I was practically in tears I was so incredulous and euphoric and moved. I even called Jodi and held the phone up so she could hear a song. Unbelievable—it was everything I had hoped for and more.

And the show was simply beyond words. They played as if not a day had gone by—I couldn’t believe how tight they were. It was truly one of the most inspiring shows I’ve ever seen. So inspiring, in fact, that I started writing….uh…oh, I’ll just say it…poetry again, sorta kinda. It may even have played a hand in the creation of this blog.

I am more than likely to post a CFD-inspired poem at some future date. How’s that for clarity?

what mcluhan meant
keeping up on blogs
how, my

That word let's play, play
per-i-lous-ly clo-ser
than we dare

Given to distraction,

Mourn the loss of anonymity!

but so what.

barge traffic, petro guilt.

--from several days ago

another blog.

we shall see!!!

--written August 2002.
published in Skyscraper magazine, Issue 12, Fall 2002.

It was one of those much beloved “Eureka!” moments in the life of an obsessive record geek. I was making my weekly pilgrimage to the local record store but wasn’t finding much; the racks of vinyl looked pretty much the same as they did the week before. It was partly luck which saw my fingers take a quick, absent-minded stroll through the “D”’s in the new Rock section on my way out the door, when. . .whoa, wait a second, back up, what was that? “DEBRIS’ Static Disposal”, the LP sticker said. I know that name from somewhere. . .I think that record used to be on my “want list”* two or three years ago! But I couldn’t quite place it, where I’d heard of it, how it had come to be on my list. Continue reading sticker: “1000 copies clear vinyl limited edition reissue of the pioneering mid-‘70s Oklahoma noise/punk classic! From the master tapes, featuring original artwork, new notes and a previously unreleased 1975 demo recording exclusive to this edition. Hailed as a major influence on the NWW list. Nobody did it better in the USA 1975-76. Electronics, guitar, drums, passion, explosion.”

Of course, the NWW list! NWW = Nurse With Wound. . .to the uninitiated, take heed. The year was 1979, and the occasion: Chance Meeting on a Dissecting Table of a Sewing Machine And an Umbrella, Nurse With Wound’s debut LP. The title was a nod to a phrase from Comte de Lautreamont’s classic late 19th-century work Chants de Maldoror which was later adopted by French writer Andre Breton in The Surrealist Manifesto (1924) as the motto of surrealism and definition of beauty. Both Surrealism (1924-1945) and its related precursor, Dadaism (1916-1923), are reflected heavily in NWW’s art and methods. Dadaism arose in western European artistic and literary circles and sought to discover authentic reality through the abolition of traditional aspects of Western culture and aesthetics; Breton and the Surrealists took these ideas a step beyond absurdity for its own sake, envisioning a fusion of two seemingly contradictory states: dream and reality, the conscious and unconscious.

Half a century later, Nurse with Wound would apply these lofty ideas to the exploration of sound on their wholly improvised first album. Recorded in six hours and mixed in two, the band members had never even played together before; Steven Stapleton, the group’s founder and creative force, claims that he had never even picked up an instrument before this session. The experiment makes for a dark, uncompromising vision not entirely dissimilar to the new industrialism being defined at the time by bands like Throbbing Gristle and Cabaret Voltaire, though much more rooted in improvisational free jazz, avant-garde minimalism, ‘70s Kraut-rock, and found sounds.

Ironically, Nurse with Wound may be recognized less for their extraordinary and inventive music than for the mythical list included with the album. Beneath the dark surrealist imagery of the cover sleeve lies the most influential list of influences in the annals of music history. Alphabeticized, in all capital letters, sans punctuation, the legendary Nurse list is a dizzying run-on of nearly every significant post-World War Two experimental band or musician.** While it seems a tad ridiculous to elevate a mere list of bands to such mythical status, it really is an astonishing piece of work in and of itself—an open map inviting any and all motivated seekers into other worlds hitherto unknown. Never before had such a comprehensive list of obscure experimental artists been collected together in one place, and it is at least partly responsible for keeping the work of many of these artists in the public eye. In keeping with the spirit of Dada, a handful of the bands are actually fakes, though Stapleton will never admit to which ones.

Let this list be thy guide.

Included are a handful of relative well-knowns: King Crimson, Yoko, PiL, Zappa, Beefheart, the Stooges, the Red Crayola, Pere Ubu, the Residents, the Velvets, to name a few. Also represented are notable experimental composers such as Cage, Stockhausen, La Monte Young, Terry Riley, and Steve Reich; and the classic Kraut-rock bands: Can, Faust, Neu!, Amon Duul, Kraftwerk, Kluster. . .along with more than two hundred bands and musicians that even afficionados of underground music have probably never heard of.

I first got into Kraut-rock and other music of an experimental nature about four or five years ago and became obsessed with the Nurse list; I would buy just about anything on that list that I could find (and, in fact, probably would still to this day), the more obscure the better. And that’s how I got turned on to such amazing bands as Agitation Free, Brainticket, Anal Magic & The Reverend Dwight Frizzell (whose own story is fodder for an entirely new article), Guru Guru, the incredible This Heat (see the article in Skyscraper Issue 11), and of course Debris’!

Back to the record store. There it was, staring back up at me; the haunting reverse-negative image of female in bondage a la Lydia Lunch, sprawled out on the floor, hands tied behind her, eyes scratched out of the photo, the band’s name plastered across those scratched-out eyes. . .DEBRIS’. From the provocative cover art alone, you would never suspect that this wasn’t a contemporary record, seeming so far ahead of its time. I had little idea what it would sound like, but I knew it wasn’t exactly a record you come across every day. My curiosity would not allow me to walk out of the store without it.

So I bought the record and got home and put the needle on the record, and. . .holy shit. . .I didn’t have time to sit down before being bowled over!— “Aeauhieeerahhhieeraaahhaaa. . .1-pft--2-3-FOUR!”. . .the record kicks off and you can virtually feel the spit in your eye. . . it seems perhaps a stroke victim’s take on the intro to Minor Threat’s cover of Wire’s “12XU”. . . “One Way Spit” kicks off the album with totally wacked-out vocals and screams, undoubtedly one of the all-time classic unsung punk rock songs. . .aggressive and passionate, with cool background vocals, subtle skronks of horns, lots of guitar spazz and artsy noise. . .energy and intensity reminiscent of the classic ‘80s DC hardcore band Void. . .basically, I was floored. The lyrics, nothing short of remarkable, range from the “Satisfaction”-style Stones school of unrequited love: “Call you up on the phone / you say ‘I’m not at home’ / Oh girl, don’t you know / I can’t find love / On. . .a. . .one. . .way. . .spit” to the black humor and absurdist Dada-babble of “Whoa. . .say / love is love, but eating soap / Can’t see. Pants see. I see.” Or this: “Come on girl and sit back / Come on girl and get back / Come on girl and feedback / Come on girl and Staubach / Come on girl and half-back.”

And that’s just the first 2:44! That three punk kids out of Chickasha, Oklahoma, of all places, could and did create some of the most vital music to ever come out of the Decade of Malaise, even if it was only heard by a few hundred people at the time, is a testament both to the bottomless imaginations and passions of rural America’s bored, “static” children and the prevailing zeitgeist of the times. Here they were, tapping into the post-Watergate era’s paranoia and depression which followed the death of the preceding decade’s sense of idealism, and balancing the sexually-charged adolescent hormones of rock n roll’s primal early days with a sophisticated take on the nature of underground art far beyond their years, or zip codes, for that matter. They should have force-fed Nixon this album.

After the first track, the Debris’ scatters in all sorts of fascinating directions. The second song, a (mostly) instrumental entitled “Female Tracks,” opens with a series of frequencies and modulations, which then unfold into a guitar-based spy theme of sorts. Horn runs splay all over, the image of Iggy Pop impersonating Ornette Coleman in a James Bond flick clearly comes to mind, as one deanna ‘D’ thrills the ears with her “sensuous mouthings.” “Witness” wraps its horns and electronic whistles and gizmos and noise around the spoken word dada of a cartoon character in the tradition of Tom Waits’ auctioneer from “Step Right Up” or John Cale’s dark-humored Waldo Jeffers of the Velvet’s “The Gift.” An utterly bizarre story unfolds which reads like a stream-of-consciousness series of encounters with Jesus freaks, brought about by a flurry of Dali’s clocks; immobilization and hypnotism play a role in the final verdict, which, not surprisingly, remains unclear. More horns, more noise, more freeform freakouts.

“Tricia” opens with the sound of power tools and a Cream-derived rock riff and backbeat; odd echoey effects on the voice make the pervading feeling that you’re on the inside of a stalker’s confession that much more disturbing. Crazed hyena screams from the Debris’ sanitarium walk a fine line between a twisted yet harmless joke and perverse depravity; in this regard, the band appears to cherish their subtleties. In a poetic world, the next track, “Boy Friend,” is the guilty counterpart to the innocence of the Modern Lovers’ “Girl Friend” (that’s G-I-R-L-F-R-E-N), as Johnny’s voice captures both Jonathan Richman’s youthful, willfully naive sneer and the hiccupy moments of David Byrne. Here, as usual, the guitars just do whatever the hell they want. Side one then closes with the faux-British “Leisurely Waiting,” an art-punk gentleman’s tea time, to be sure, buried somewhere underneath the reverb and effects.

The second side of Static Disposal plows through much of the same off-the-wall territory as the first—always with animalistic ferocity, always with consistently inventive arrangements, breakdowns, effects, and even melodies. Hypnotic chants, maniacal stuttering, and drunken caterwauling remain the norm; a pre-cognitive, wacky impression of the Swans, hints of Zappa and the Soft Machine, and even the doo-wop soul productions of Phil Spector parade around, buried deep under many layers of head-damaged anarchy, while the listener is treated to some of the strangest and finest lyrics to ever grace a punk album:

“New Smooth Lunch”

Hard luck murderers
You got your hard luck murderers
You got the winning number
Cold babies floating in the ashes
‘Lectronic commotion coming from your comb
‘Lectronic commotion. . .
Spiral notebook man following you ‘round
Hiding from the hats over the city
Color coded billboards flashing overhead
Telephoto lens have a graphic enlargement
New Smooth Lunch
How can you tell me the answer to viewing?
How can I find the receiver?
Transmitting. . .receiving. . .transmitting. . .receiving

“Flight Taken”

Flight taken seems to be so enticing
Flight taken seems to be so enticing
Featuring temperatures,
featuring temperatures. . .from. . .from
Zero to nothin’. . .zero to nothin’
Objects are. . .around me
Objects are. . .going through me
Objects are. . .up from the ground
Seems to take me. . .seems to take me
Take me to the Lizard King
Take me to the Street Lizard King
Bring him here on his knees
Bring him here and let’s read his dream. . .
Let’s read his dream. . .

Lizard King:

Someone is being released
I’m not going to throw your Ferris Wheel into the river. . .
Someone is being released
I know the guy who took out his eye
And revealed a freeway of diamonds
I’ve seen your kids. . .I’ve seen the stencils that they used. . .
I’m not going to stay up and watch those bricks. . .
I’m not going to feed that ghost. . .
The bricks of fear will crumble under another century’s son. . .
Someone is being released

Programming time with the boys is all wasted
Programming time with the boys is all wasted
We’re both trying to find the unusual
Locomotive in the magazine
Seems to have
Zero fine zip
Zero fine zip
Zero fine zip

The three punk kids of Chickasha, Oklahoma were THE Charles “Chuck Poison” Ivey, Oliver Powers, a.k.a. Rectomo, and Johnny Gregg: household names, perhaps, in an alternate universe. On the LP sleeve Oliver is credited with “vibraharp, variable multi-stringed electronic exasperator coupled with various electronic special operations devices, b-flat coronet, vericose verbalizations, and gruesome groans.” Chuck: “low frequency modulators, synthesizers, ‘detonic guitar on ‘Flight Taken’, sequential screams, and marvelous moans. Johnny: “drums, drums, visceral vocals, and gorgeous grunts.” This was the core of Debris’, while assistance was given by Richard Davis on sax, organ, and 8” circular saw, Dirk E. Rowntree on percussion and the role of ‘Lizard King’ (apparently, no Jim Morrison reference was intended) in “Flight Taken,” and, again, the sensuous mouthings of deanna ‘D’ on “Female Tracks.” The songwriting is split fairly evenly between Chuck and Oliver; while vocals are handled by all three.

Chuck, who had previously done time in local bands like the Misfits and Airless Regime, hooked up with Oliver just after high school graduation and began playing shows as The Coctails, doing mostly covers of the likes of Chuck Berry, the Stooges, Roxy Music, Beatles, Kinks, Stones, Alice Cooper, ZZ Top, Buddy Holly, John Cale, Bowie, T-Rex, and Elvis. They became the house band at a local dive called The Cascade Club, where they somehow appealed to both the glitter punks and the rednecks. The Coctails metamorphosed into Victoria Vein and the Thunderpunks, who recorded two songs at a local studio in May, 1974; these would remain unreleased until 1999. After their breakup in August, Oliver and Chuck, no longer content with playing covers, began a quest for an original sound which led them to Johnny Gregg and the formation of Debris’. They only played four gigs in their brief lifetime, but they certainly made an impression on those who saw the shows: performances in tuxedos, nurse’s dresses, and wind goggles, with Johnny half-naked in panties and lingerie, covered with baby powder, were the norm. Friends would show up onstage dressed up in Mickey Mouse ears and hard hats, TV screens would flash images behind the band, while backing tapes blasted white noise and effects through the PA between songs. This was pretty audacious stuff for the time period, as was the classic record cut by the band in a total of ten hours recording and mixing time.

Pressed in an extremely limited edition of 1000 copies and self-released by the band in 1976, Static Disposal would quite probably have disappeared into that good night, though certainly not gently, were it not for the fanatical world of private collectors who kept the record alive, legendary, and talked-about during the nearly two-and-a-half decade gap between its first and second pressings. Thank God for men like Karl Ikola, the force behind Anopheles Records, who has taken the stuff of legend and granted access to those willful enough to seek it out. Ikola first became aware of the Debris’ LP in the late ‘80s through Forced Exposure magazine, and although the magazine folded some years back, F.E. is still around and thriving as one of the best mail-order services on the web (www.forcedexposure.com), offering up a slew of hard-to-find experimental and avant-garde records, including the Debris’ reissue. Ikola founded Anopheles Records in 1991, launching the label with an LP by Australian scuzz-punk group Venom P. Stinger, featuring Mick Turner and Jim White, who would later go on to modest fame as members of the Dirty Three. Other releases include an archival CD by the late ‘70s Sacramento greats, the Twinkeyz, an EP of Kim Fowley songs by Jim Shepard (of V-3 and Vertical Slit), and a 7” of the two songs recorded by Victoria Vein and the Thunderpunks prior to the formation of Debris’.

‘Tis the labours of love which make for the most fulfilling reissues, and the reissue of Static Disposal is nothing if not a testament to Karl Ikola’s hard work and love for Debris’. He first released it on CD in late 1999, with a 28-page booklet which thoroughly documented every aspect of the Debris’ saga, including a complete history, song-by-song analysis by Oliver and Chuck, and essays from each of the bandmates regarding their experiences and memories, as well as a short piece by Ikola about the circumstances which brought about the reissue. Thorough documentation, indeed. The CD includes the LP’s eleven original tracks, along with ten previously unissued rehearsal recordings. A limited edition pressing of 1000 copies on clear wax arrived in the spring of 2002, just in time for me to stumble across it in the aforementioned record store experience. My advice: pick this record up right now while copies are still floating around.

Debris’ fused the herky-jerk eccentricities of Beefheart’s Magic Band and the Red Crayola’s freeform guitar freakouts with the raw power, wild abandon, and self-destructive rage of the Stooges (The LP closes, appropriately enough, with a bonus cover of “Real Cool Time”) Although some similarities can be drawn between the band and its closest contemporaries (Pere Ubu, MX-80 Sound, Chrome, Simply Saucer, Electric Eels), Debris’ was a wholly unique and original force for raw, gut-wrenching punk-rock-as-performance-art and remain one of the most unsung, criminally unheard bands of all time. This is a record for those who think they’ve heard everything – ‘cuz if you ain’t heard Debris’, you ain’t heard shit. (Anopheles Records, PO Box 170045, SF CA 94117)

*My List: Not nearly as influential as the Nurse With Wound list (except perhaps to myself), a constantly evolving list of records I’m looking for, still around to this day.

**The Complete Nurse With Wound List:

AGITATION FREE PEKKA AIRAKSINEN AIRWAY ALBRECT D ALCRATAZ ALGARNAS TRADGARD ALL 7-70 ALTERNATIVE TV ALVARO AME SON AMM MUSIC AMON DUUL AMON DUUL II ANAL MAGIC + REVEREND DWIGHT FRIZZEL ANIMA ANNEXUS QUAM AQSAK MABOUL ARBETE OCH FRITID ARCANE V ARCHAIA ARCHIMEDES BADKAR AREA GILBERT ARTMAN ART BEARS ART ZOYD III ARZACHEL ROBERT ASHLEY ASH RA TEMPLE ASSOCIATION PC IL BALLETTO DI BRONZO BANTEN FRANCO BATTIATO HAN BENNICK STEVE BERESFORD JACQUES BERROCAL PHILIPPE BESOMBES BIGLIETTO PER L'INFERNO BIRGE GORGE SHIROC BLUE SUN RAYMOND BONI DON BRADSHAW LEATHER BRAINSTORM BRAINTICKET BRAST BURN BRAVE NEW WORLD ANTON BRUHIN BRUHWARM THEATRE FRANZ DE BYL CABERET VOLTAIRE JOHN CAGE CAN CAPSICUM RED CAPTAIN BEEFHEART CHAMBERPOT CHECKPOINT CHARLIE CHENE NOIR CHILLUM HENRI CHOPIN CHROME COHELMEC ENSEMBLE JEAN COHEN-SOLAL COLLEGIUM MUSICUM ROBERTO COLOMBO COME COMPANYIA ELECTRICA DHARMA COMUS CORNUCOPIA CRASS CREATIVE ROCK CRO MAGNON DAVID CUNNINGHAM CUPOL DADAZUZU WOLFGANG DAUNER DEBRIS DECAYES DEDALUS DEEP FREEZE MICE DEUTSCH-AMERIKANISCHEN FREUNDSCHAFT DHARMA QUINTET DIES IRAE DOME DOO DOOETTES PHILIPPE DORAY ROGER DOYLE JEAN DUBUFFET DZYAN EILIFF EMTIDI EROC ETRON FOU LELOUBLAN EXMAGMA FAMILY FODDER PATRIZIO FARISELLI FAUST LUC FERRARI FILLE QUI MOUSSE FLOH DE CLOGNE FLYING LIZARDS FOOD BRAIN WALTER FRANCO FREE AGENTS FRIENDSOUND FRED FRITH GASH RON GESSIN GILA JEF GILSON GLAXO BABIES GOD IN DISGUISE(FORKLAND GUD) GOMORRHA GONG GOOD MISSIONARIES GRAND MAGIC CIRCUS JOHN GREAVES & PETER BLEGVAD FERNANDO GRILLO RAGNAR GRIPPE GROBSCHNITT GROUP 1850 JEAN GUERIN FRIEDRICH GULDA GURU GURU HAIRY CHAPTER HAMPTON GREASE BAND HELDON PIERRE HENRY HENTY COW HERATIUS HERO JUAN HIDALGO HUGH HOPPER HORDE CATALTYQUE POUR LA FIN HORRIFIC CHILD IBLISS L'INFONIE INTERNATIONAL HARVESTER ISKRA ISLAND MARTIN DAVORIN JAGODIC JAN DUKES DE GREY KING CRIMSON BASIL KIRCHIN ASAMU KITAJIMA KLUSTER FRANK KOLGES KOLLEKTIV ROTE RUBE KOMINTERN KRAFTWERK KROKIDIL STEVE LACY LARD FREE LE FORTE FOUR LEMON KITTENS LILY LIMBUS 3 LIMBUS 4 BERNARD LUBAT ALVIN LUCIER MAGICAL POWER MAKO MAGMA COLETTE MAGNY MAHJUN MAHOGANY BRAIN MALFATTI-WITTWER MAMA DADA 1919 MICHAEL MANTLER ALBERT MARCOEUR MARS MASCHINE NR.9 MATE & VALLANCIEN COSTIN MIEREANU MIN BUL MNEMONISTS MODRY EFEKT MOOLAH ANTHONY MOORE MOTHERS OF INVENTION MOVING GELATINE PLATES FRITZ MULLER THIERRY MULLER(ILITCH) MUSICA ELECTRONICA VIVA MUSIC IMPROVISATION COMPANY MYTHOS NAPOLI CENTRALE NEGATIVELAND NEU! NEW PHONIC ART NICO NIGHT SUN NIHILIST SPASM BAND NINE DAYS WONDER NOSFERATU NU CREATIVE METHODS OKTOBER YOKO ONO OPERATION RHINO OPUS AVANTRA ORCHID SPANGIAFORA OUT OF FOCUS OVARY LODGE TONY OXLEY PARKER & LYTTON PATAPHONIE PAUVROS & BIZIEN PERE UBU PIERROT LUNAIRE DER PLAN PLASTIC ONO BAND PLASTIC PEOPLE OF THE UNIVERSE POISON GIRLS POLE POP GROUP MICHEL PORTAL BOMIS PRENDIN PUBLIC IMAGE LTD RED CRAYOLA RED NOISE REFORM ART UNIT STEVE REICH ACHIM REICHEL THE RESIDENTS CATHERINE RIBEIRO & ALPES BOYD RICE TERRY RILEY CLAUDIO ROCCHI ROCKY'S FILJ RON PATES DEBONAIRES ROTH, RUHM & WIENER RAY RUSSEL TERJE RYPDAL MARTIN SAINT PIERRE SAMLA MAMMAS MANNA GUNTER SCHICKERT SECOND HAND SECRET OYSTER SEESSELBERG SEMOOL SONNY SHARROCK SILBERBART SILOAH SMEGMA SALLY SMMIT (& HER MUSICIANS) SNATCH SOFT MACHINE SPERM SPHINX TUSH KARLHEINZ STOCKHAUSEN STOOGES DEMETRIO STRATOS SUPERSISTER TAJ MAHAL TRAVELLERS TAMIA TANGERINE DREAM GHEDALIA TAZARTES TECHNICAL SPACE COMPOSERS CREW MAMA BEA TEKEILSKI THIRD EAR BAND THIRSTY MOON THIS HEAT JACQUES THOLLOT THRICE MICE THROBBING GRISTLE PAOLO TOFANI TOKYO KID BROTHERS TOLERANCE TOMORROW'S GIFT TON STEINE SCHERBEN TRANS MUSEQ ULI TREPTE TWENTY SIXTY SIX & THEN UNIVERS ZERO CHRISTIAN VANDER VELVET UNDERGROUND VERTO PATRICK VIAN L.VOAG MICHEL WAISVISZ IGOR WAKHEVITCH JAMES WHITE & THE CONTORTIONS WHITEHOUSE LAWRENCE WIENER WIRED TREVOR WISHART WOORDEN ROBERT WYATT IANNIS XENAKIS XHOL CARAVAN XHOL YA HO WA 13 LA MONTE YOUNG FRANK ZAPPA ZNR ZWEISTEIN