Alan Splet & David Lynch - Eraserhead (1982)

"An astonishing, peerless masterpiece, the soundtrack to David Lynch's debut labor of love creates a world of haunting mechanics and sexual distress in such a bizarre layer of sonic fog that any record collection is simply poorer without it. The enormity of the aural experimentation is extraordinary. With renowned sound designer Alan Splet, Lynch developed any technique he could conjure up -- from recording with pieces of glass tubing, pneumatic engines, or water-based pieces of machinery -- to produce sounds never heard before (or since) in any medium. Pieces of Fats Waller filter in through the unsettling haze. The sounds of the unimaginably horrific baby are nothing less than ghastly. Few directors could have realized such a potent vision only a first time out. Disturbing, haunting, and -- decades later -- still one of the most compelling sonic creations in the history of film." AMG

#1:
Digah's Stomp [Fats Waller]
Lenox Avenue Blues [Fats Waller]
Stompin' The Bug [Phil Worde, Mercedes Gilbert]
Messin' Around With The Blues [Phil Worde]
Pipe Organ - Fats Waller

#2:
In Heaven (Lady In The Radiator Song) [Phil Ivers, David Lynch]

Excerpts in #1 performed by Thomas "Fats" Waller in 1927.
"Dedicated to the man in the planet's sister".

Recorded in 1976.
Released in 1982 by I.R.S.
CD re-release in 1989.

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The Hafler Trio - Fuck (1992)

"Fuck is the second part of a projected trilogy that begins with Masturbatorium, and for which the third part has not been released as of early 2001. While Masturbatorium used sounds generated by performance artist Annie Sprinkle in a sonic investigation of female sexuality, Fuck concentrates on male sexual energies, using sounds leading to the brink of male orgasm from Andrew McKenzie, in addition to various atmospheric frequencies and field recordings. As with the trilogy's first part, the liner notes go into some detail about the sonic origins and the overall purpose of the piece, its specific practical intents, and its relationship to investigations into sexual energy.

Unusually, McKenzie directs that the recording be played at maximum volume, and that the CD player be in strict accordance with left and right channel connections. With the correct playback configuration, the ominous low drone opening shakes the room, and when the various fast rhythmic layers are added in, the piece takes on an overwhelming aura seldom found in other Hafler Trio releases. A looped bass vocal alternates between the two channels in the second track, exercising the separation McKenzie mentions. Given the sexual intent of the piece, one might suppose that it would start slowly and build, but in fact the opposite is the case. The beginning is the loudest, densest, and fastest, with an overall tranquility and lightening as the piece progresses. Its unity of purpose makes it one of the better Hafler Trio releases, although the cover art and subject matter make it for mature listeners only".
Caleb Deupree, All Music Guide

"The first piece can be seen as an abrasive experience in deep-breathing oppressive terror-technonoise, somehow reminiscent of both Gerechtigkeits Liga and Porter Ricks; the second piece finds the "trio" in more familiar ground, reducing the scope of sonic assault to create a slow, bass-based progression from multilayered noise to total darkness". The Juju Unintelligible Reviews

Performed by A.M. McKenzie & Zbigniew Karkowski

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Experimental Audio Research - The Köner Experiment (1997)

"If you're home really late at night and you randomly spin the radio dial to see what you pick up, you just might end up falling asleep to burbling, phased-out static. To distinguish such an act from listening to The Köner Experiment might be harder than you think. Here, the Experimental Audio Research collective restrains their avant-garde indie noise rock to come up with ten untitled tracks that try to explore the seedlings of collaborator Thomas Köner's more minimalist philosophies... When these pieces sound like an insomniac's heartbeat, pulsing along to an unsettling world of twilight paranoia, the effect is deeply disturbing. There's a mechanist's glare to a number of these tracks. An exhausted lucidity that probably points to one of the most potent and coherent constructions of all the E.A.R. releases so far". Dean Carlson, All Music Guide

"The Köner Experiment' is the collaboration of several of the finest experimental artists of the time, namely Sonic Boom, Kevin Martin (God & Techno Animal), Eddie Prevost (AMM), Kevin Shields (My Bloody Valentine) and Thomas Köner and Andy Mellwig (Porter Ricks). This release was recorded during 1991 in studios in Coventry & London, the material was then sculpted in Dortmund into its present form by the much acclaimed German artists Köner and Mellwig. Taking the ethos of experimental audio research to new levels, this release shows us the deep and complex nature of the music E.A.R. (Experimental Audio Research) produce. Deep, rolling waves of sound producing emotions and thoughts like no other style can".


Sonic Boom: EMS VCS3 & Synthi A, Serge Modular Music System, Guitar, Wind Pipes.
Kevin Martin: Saxophone, Wha Wha, Echoes.
Eddie Prevost: Bowed Cymbals, Percussion.
Kevin Shields: Treated Guitar.
Thomas Köner & Andy Mellwig: Rhythms & Pulses.
Produced by Thomas Köner & Andy Mellwig

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This contribution is a courtesy of Moita's Double Avenue