<?xml version="1.0" encoding="us-ascii"?>
<label id="intransitive" href="http://www.electrocd.com/en/boutique/intransitive/">
  <name>Intransitive Recordings</name>
  <shortname>Intransitive</shortname>
  <recording id="int_013" href="http://www.electrocd.com/en/cat/int_013/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/013_INT.gif" />
    <title>Variious</title>
    <catno>INT 013</catno>
    <year>2000</year>
    <format>
      <code>2xCD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>A Who&#8217;s Who of extreme electronic avant-garde. &#8220;I commend this
    compilation to anyone as a fine example of what's good and exciting in today's electronic
    music.&#8221; &#8212;Signal to Noise "Intransitive Recordings has given us a souvenir of a
    non-existant wrap-party for the first series of recordings from this discriminating label.
    Variious also functions as the start of series two for the label. Exploring various avenues of
    improvisational and calculated sound textures, Intransitive has essentially been taking audio
    snapshots of movement. With this in mind, this 2xCD set is much like a photo album featuring
    some of the photographer's most favorite pictures. With all Intransitive releases, this disc is
    limited and I'm predicting it will be a much sought after item before long." -Jon Whitney,
    Brainwashed "With many (but not all) leaning toward the current state of pop/click glitchiness,
    21 Various Artists have given generously to Variious, a limited-to-1000 2CD compilation from
    Intransititive. Big names within the eclectic listening crowd mingle with lesser-known artists
    of similarly experimental soundesign tastes; the resulting complexities are sure to confound
    mainstream ears while delighting the hard-core explorer...Exploring sonic mutations in various
    modes yields a broad overview of just how far sound can be bent in very different directions. A
    top-notch gathering of experimentally-minded electronic composers/designers make Variious a
    worthy listen." David Opdyke, Ambientrance. "This is one to learn from, in that the
    possibilities of a diverse series of approaches is explored. a superior collection, deserving
    of my highest recommendation." -B.Wildered, Desiderata. "Check out Variious (yes, with a double
    "i," released by Intransitive) to hear minimalism conversing with other experimental
    tendencies... field recordings, feedback improvisations, turntable collages and general
    mad-scientist deviousness. This is some of the most exciting music being made; if nothing else,
    it'll have you hearing your drive to work tomorrow quite differently." -Lang Thompson, Creative
    Loafing.</description>
  </recording>
  <recording id="int_023" href="http://www.electrocd.com/en/cat/int_023/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/023_INT.gif" />
    <title>Twenty-three</title>
    <catno>INT 023</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>I love compilations. Always have, ever since I started listening to music. A
    compilation is like an extension of a mix-tape, similar to those that I used to make in high
    school for my friends. It&#8217;s a way of saying &#8220;Here is all the music that I&#8217;m
    excited about right now, collected in one place for you&#8221;. Of course, a record label is
    also an extension of this enthusiasm&#8230; I&#8217;ve been publishing electro-acoustic music
    for seven years now, and my excitement about it has only grown. I&#8217;m always hearing new
    stuff, or becoming charged about some artist&#8217;s development or new projects. A compilation
    is a fine way for me to take stock of what music I&#8217;m listening to and step back for a
    moment to gather the best of it in one place. In a perfect world (one in which I suddenly
    became a millionaire overnight), I would publish 50-CD boxsets by everyone on this album. For
    now, though, Intransitive Twenty-Three should provide plenty for a listener to chew on, and
    some directions in which to continue exploring. As is true with all Intransitive releases, my
    concern is not one of refining some particular label aesthetic; to me, it&#8217;s much more
    interesting to publish whatever I find compelling, and to let listeners make connections
    between disparate artists, approaches, and sounds. My hope is that one cannot know precisely
    what to expect from the label, but that some intuitive coherence emerges with time.
    That&#8217;s not for me to worry about, though: there&#8217;s too much great music to be heard
    now! Of Intransitive&#8217;s previous 2CD compilation, Variious, the critic Michael Heumann
    wrote in Stylus Magazine that he found the album &#8220;especially interesting because it so
    effortlessly bridges that imaginary gap between &#8216;popular&#8217; and &#8216;serious&#8217;
    electronic music, in the process demonstrating that those terms mean absolutely nothing. When I
    listen to Variious, I hear music and just music, and that&#8217;s all I should hear when I
    listen to music&#8221;. Right on! I&#8217;m aware that the artists compiled on these CDs (and
    on Intransitive&#8217;s releases in general) may be coming from very different conceptual or
    compositional places, but to these ears, all of this sound makes sense together. Just in case,
    I imposed a limitation on the artists: no one was allowed to use anything digital in the
    composition of their piece. And there you have it. -Howard Stelzer, Intransitive
    Recordings.</description>
  </recording>
  <recording id="int_017" href="http://www.electrocd.com/en/cat/int_017/">
    <artist>M Berhens</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/017_INT.gif" />
    <title>Elapsed Time</title>
    <catno>INT 017</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Last 3 copies! The latest album by Marc Behrens is the end result of his attempt
    to understand his artistic choices in light of thier possible subconscious meanings. Regarding
    the process that led up to this album, Behrens writes, "I was reflecting on my own past, in
    which there was a period of occupying myself with plastic model airplanes out of fascination
    with the technology (as I understood it)... it occoured to me that electronic music has been
    very much linked with military technology, the latest of them being the computer. Many of our
    contemporary electronic tools are byproducts of military technology and, unfortuately,
    application. Still a bit unsure of about whether my early affection for military technology had
    different motivations, I saw a chance for sublimation in my musical work." Beginning in 1996,
    Behrens sorted through his catalog of late 1980s and early 1990s four-track tapes and field
    recordings, and set to examine his older analogue sounds through his current computer-based
    compositional aesthetic. By keeping his previous interest in military technology in mind, he
    preserved a sense of remoteness and removed examination in the music. Sounds seem to come from
    a great distance, possibly reminiscent of pilots sitting alone in planes over enemy territory,
    or of lonely sailors aboard submarines far below the population they are defending. In light of
    recent events, Behrens' questioning of the implications of his own decision to appropriate
    instruments of possible military origin for his art is especially poignant. Marc Behrens has
    been active as a sound and installation artist since the mid 1980s. Currently based in
    Frankfurt, Germany, he has exhibited or performed throughout Europe and Japan, and has worked
    with artists such as Francisco Lopez, bernhard gunter, Atom Heart, and Nicklaus Heyduck. His
    previous releases have included "Advanced Environmental Control" (trente oiseaux, GER), "Final
    Ballet" (Raster-Noton, GER), and "Contraction" (Digital Narcis, JAP). His piece "Revelation"
    appeared on Intransitive's "VARIIOUS" compilation last year. "Elapsed Time" is his first
    domestic US album. "Low frequency pulses, high pitched hiss, tape manipulations and found
    sounds of varying timbre and intensity fall into and out of earshot; each piece is as dramatic
    and dynamic as the last. For me, the second piece best encapsulates the essence of these
    recordings. A low, distant rumbling creeps in with stunning vibrations, and switches gears
    quickly to a short low frequency burst, followed by a series of successive shifts and jumps,
    each new sound as engaging as the last, creating a distinct feeling of isolation and
    apprehension. An accomplished and introspective work, revealing new details and hidden sounds
    with repeated listening. Highly recommended." -Incurion Music Review "Will please both the fan
    (who will recognize some of the material now presented in very different contexts) and the
    newcomer. Saying the music allies the best of both worlds, the warmth of analog field
    recordings and the precision of digital manipulation would get very close to a clich&#233;.
    Yet, there is truth in the assertion. Moreover the military technology theme of the album
    empowers these lowercase sound art works with an aura of mystery. Radio signals, motors, and
    many other sounds one associates (rightfully or wrongfully) with the subject like mirage-keys
    that open no door but for a fugitive moment give the impression of a deeper, graspable
    meaning." -All-Music Guide. "A complex, fully realized foray into electro-acoustics. Although
    this new recording is based on the reconfiguring, editing and occasional manipulation of
    earlier, non computer based compositions, it sits quite comfortably next to Behrens&#8217; fine
    past releases on labels like Raster-Noton and Trente Oiseaux. To call Behrens&#8217; work
    minimal is an understatement. Often the volume level of his compositions is overwhelmed by
    passing traffic, but 'Elapsed Time' is definitely his most aggressively direct, noisiest
    recording to date ... This is difficult, intelligent work that is well worth the time and
    effort." -Paul Lemos, Under the Volcano.</description>
  </recording>
  <recording id="int_009" href="http://www.electrocd.com/en/cat/int_009/">
    <artist>Loren Boyer</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/009_INT.gif" />
    <title>Des parasites risquent de se produire</title>
    <catno>INT 009</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>A native of northern Florida, recently relocated to Boston, MA, guitarist Loren
    Boyer presents nine homemade electro-acoustic compositions on his first widely available
    recorded work. "Des Parasites..." downplays guitar in favor of amplified toys, tapes, bizarre
    atmospheres, and electronic drones. The result is an introspective, claustrophobic album of
    melancholy song-like forms, at times innocent and naive, or oppressive and raw. From the
    gritty, distant percussive opening to the majestic tape-squeal finale, "Des Parasites..." is a
    concise and intensely personal statement from a unique and underdocumented artist. Includes
    introductory essay by Davey Willams. Boyer currently performs both solo and with Harvey
    Benschoter as the electronics duo Horse Sinister. "Immediately impressive... Time, or maybe
    time pieces, could play a part in the construction of this series of (mostly) guitar
    compositions, nearly all of which have something curious ticking inside them. Elsewhere,
    subterranean drones and radio squeal add thier atmospheric weight to the proceedings until,
    finally, Boyer's pecking guitar style emerges fleetingly before being gobbled up in a storm of
    sonic flak. Great stuff." -Edwin Pouncey, The Wire. "The music is throbbing and ominous,
    subterranian and seditious. It is sleepwalking at noon with civil defense sirens going off all
    around you. In short, this music is disturbing." Glenn Engstrand, The Improvisor. "A perfect
    companion for everything but sleeping. Decidedly great." Nirav Soni, Ink 19</description>
  </recording>
  <recording id="int_018" href="http://www.electrocd.com/en/cat/int_018/">
    <artist>Gal</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/018_INT.gif" />
    <title>Relisten</title>
    <catno>INT 018</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Last 5 copies! &#8212; &#8220;Relisten indeed you will.&#8221; (The Wire) The work
    of Austrian sound artist Bernhard Gal is concerned with the discovery (as opposed to the
    imposition) of musical structures within the nuances of everyday life. The stammering in the
    spaces of spoken language, the ubiquitous noise of urban environments, the steady stream of of
    buzzes and whirrs that are a byproduct of mass transportation, all become subjects examined
    under Gal's extraorinarily precise microscope. He explores ideas about time and language,
    extrapolating and enlarging and repeating the often overlooked details and minutae until their
    inherent sonic beauty supercedes their typical mundane habitat. Following last year's
    critically acclaimed "Defragmentation/Blue" CD (Plate Lunch, GER), "Relisten" is Gal's first
    domestic US album. Each of the six tracks is its own self-contained piece, spurred by some
    personal association to the composer. However, taken all together, one can travel by sound from
    New York City (where Gal spent a year's residency at the Leo Baeck Institute) to the subways of
    Vienna and beyond. The piece "lv, nv" uses adaptive filters to uncover hidden musical elements
    always present at a Vegas casino. Another, "Tong-hua yie-shi" could be described as real-time
    musique concrete, created by walking through a Taiwanese night market equipped with a stereo
    microphone, DAT, and headphones. "Relisten operates between the world's soundscapes and their
    detachment from context", says Gal. "The personal discovery of music within nature as well as
    within the routines of everyday life keeps fascinating me. Sometimes I return to a certain
    place only to record its sound." "Gal crafts his sound material with deadly precision, using
    repetition to great effect: "lv, nv" uses sounds recorded in a Las Vegas casino, but the
    clanging din of the gaming rooms is all but entirely filtered out, leaving only an eerie
    harmonic shell sporadically peppered with tiny avalanches of slot machine jackpots. It's as
    achingly beautiful as the high Nevada desert that surrounds the mad phantom city. "Relisten"
    indeed you will." -Dan Warburton, The Wire. "Relisten" is one of Warburton's selections for the
    10 RECORDS OF THE YEAR. "This release focuses on revealing the inner beauty of selected field
    recordings... Shows Gal&#8217;s commanding talent for sound art. Recommended." -All-Music Guide
    "A fascinating meditation on public spaces." -Jeremy Keens, Ampersand Etc. "A more dynamic,
    imaginative brand of musique concrete. At points, Gal&#8217;s pieces are simply creations from
    the field, snapshots of sound as memory. Frequently, however, the composer manipulates and
    layers these recordings to create something quite apart from the initial experience." -Paul
    Lemos, Under the Volcano "This is my first introduction to the work of Gal, and it is a
    pleasure. It undermines the obvious and brings to light more or less hidden structures and
    music in everyday life. As a whole this is a very varied CD with a lot of angles, but all of
    them taken well care of. Recommended." -Vital Weekly</description>
  </recording>
  <recording id="int_022" href="http://www.electrocd.com/en/cat/int_022/">
    <artist>jgrzinich, Seth Nehil</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/022_INT.gif" />
    <title>Confluence</title>
    <catno>INT 022</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <availability>out of print</availability>
    </format>
    <description>In 1998, American composers John Grzinich and Seth Nehil initiated a process of
    recording and experimentation that would result in a pair of full-length CDs. The seed of the
    project originated in Austin, Texas with acoustic recordings of found objects played by large
    groups. By the end, it had expanded into a three-year, transcontinental exchange of intensive
    interaction, questioning and dialogue. These works further the artists' interest in physical
    materials and natural acoustics which are consequently composed into imbedded, altered and
    engaging structures. Taking form with the integrity of a living organism, these pieces invite
    the listener to find his way through the reticulated and stratified development of a subtly
    unfolding, organic sound-body. The first part of this project, "Stria", was published by the
    Erewhon label (Belgium) earlier this year. Intransitive is now proud to present part two,
    "Confluence". The exploratory focus of "Stria/Confluence" is the idea of resonance; the
    phenomenon of natural vibrations that give rise to intensified or stable structures within
    sound bodies and fields. In the production of these works, the composers' approach to resonance
    encompassed not only acoustical behavior but also included analogies of the phenomenon in group
    interaction and/or participation within the social context of sound generating activities. It
    was again applied to the studio in the use of massive multiplications and layerings, resulting
    in deeply transformed, evolutionary sound fields. Seemingly infinite layers of minute actions
    accumulate into a deep wash of sound, not unlike the similarly-minded Jonathan Coleclough or
    mnortham. Repeated listening reveals more and more subtle details so that the piece appears to
    change each time it is experienced. Seth Nehil's work with layered acoustic recordings has been
    heard on his previous releases published by KAON, Alluvial and 20City. Both artists, whose
    previous duo recordings used the band name Alial Straa, have collaborated extensively with
    mnortham and Olivia Block as part of Austin's Orogenetics group.</description>
  </recording>
  <recording id="int_025" href="http://www.electrocd.com/en/cat/int_025/">
    <artist>Kapotte Muziek, Lethe</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/025_INT.gif" />
    <title>Tsurumai</title>
    <catno>INT 025</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Recorded in the industrial city of Nagoya, Japan, Tsurumai is an expansive album
    of roughly improvised electroacoustic music. Starting from a few small clicks, the music
    steadily grows outward, uneasily shifting and expanding&#8230; the musicians use acoustic
    sounds (from violin, piano, percussion), closely amplified objects, open circuits and
    computers, and anything else they could find. Rude bumps interrupt narcotic drones, the
    telltale human hands of improvisation disappear into a mysterious group sound, elements blur,
    vision fails, and time stops&#8230; Frans de Waard began his Kapotte Muziek (literally
    &#8220;broken music&#8221;) project in Nijmegen, the Netherlands, in 1984, and went on to found
    the Korm Plastics label. As the name he gave to his solo studio experiments, Kapotte Muziek
    produced tapes and LPs of harsh noise, drones, collages, and whatever else interested him,
    casting a large shadow over the 1980s international cassette-trading community. Eventually, as
    he pursued his projects Shifts (for guitar drones) and Freiband (computer music), Kapotte
    Muziek became the live improvising collaboration of de Waard, Roel Meelkop and Peter
    Duimelinks. The trio performs by amplifying objects that they discover at whatever space they
    find themselves performing. In Nagoya, Kapotte Muziek met up with Kuwyama Kiyoharu, aka Lethe,
    an omnivorous multi-instrumentalist whose work typically takes advantage of some acoustic
    peculiarity of the space in which it is recorded. He is one-half of Kuwyama-Kijima, a cello and
    violin duo whose albums have appeared on the trente oiseaux and Alluvial labels. He has also
    collaborated with Campbell Kneale (Birchville Cat Motel), Masayoshi Urabe, and runs the annual
    Lethe-Voice Festival in Nagoya. Tsurumai is Kapotte Muziek&#8217;s second CD for Intransitive,
    following The Use of Recycling in 1998. Lethe also appeared on the compilation
    Twenty-three.</description>
  </recording>
  <recording id="int_026" href="http://www.electrocd.com/en/cat/int_026/">
    <artist>Jason Lescalleet, Nmperign</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/026_INT.gif" />
    <title>Love Me Two Times</title>
    <catno>INT 026</catno>
    <year>2006</year>
    <format>
      <code>2xCD</code>
      <price>33.00 CA$</price>
      <availability></availability>
    </format>
    <description>Love Me Two Times, the highly anticipated double-CD epic by Jason Lescalleet
    (tapeloops) and Nmperign (Bhob Rainey - soprano sax, and Greg Kelley - trumpet). The result of
    six years of live and studio collaboration, Love Me Two Times is by far the most ambitious and
    uncompromising statement yet by this formidable trio. The album begins as a more-or-less
    straight documentary-style recording of group improvisation, but don&#8217;t get too
    comfortable&#8230; over the course of the next two hours, the ground steadily shifts, the
    bottom drops out, and any expectations a listener may have had going in are thoroughly
    trampled. Join the group as they visit art galleries, rock clubs, living rooms, at least one
    church, and the kitchen of a famous chef, before finally putting a fist through an amplifier.
    Fans will find the usual ingredients here: crusty old reel-to-reel tape decks, cheap keyboards,
    amplified and acoustic horns&#8230; but rude tape splices, violent humor, and confusingly
    degraded fidelity push the music far from safe territory. The visceral drama of Love Me Two
    Times does not neatly spell out its intentions, nor does it signal exactly what it has up its
    sleeve. It exists in its own universe, demands repeat listens and to be taken on its own
    terms.</description>
  </recording>
  <recording id="int_024" href="http://www.electrocd.com/en/cat/int_024/">
    <artist>Roel Meelkop</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/024_INT.gif" />
    <title>5 (Ambiences)</title>
    <catno>INT 024</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>The music of 5 (Ambiences) deals with ways of approaching and conceptualizing
    ambient sound, of abstracting sounds from the world until they become much more than
    documentary observations. The music plays with some referential material (are they field
    recordings? digitally generated? does it matter?), a very wide dynamic range (to encourage
    active listening), evocative and even dramatic structures but also forbiddingly impersonal
    distance. It toys with the notion of &#8220;ambient music&#8221; (as new age wallpaper) by
    using ambiences to create deeply involving compositions which change as one changes one&#8217;s
    listening focus. This music is open to any interpretation, or no interpretation at all. When
    Roel Meelkop creates a new CD, he considers anything other than the music to be a distraction
    from the point at which a listener apprehends a sonic experience and generates his or her own
    meaning. Previous albums have not included any images, text, biographic information, or even
    titles. This sort of presentation could be misinterpreted as willful obscurity, but quite the
    opposite is intended. By the composer&#8217;s reasoning, the music on the CD is exactly and
    only what the listener hears; richness then arises from the act of listening. On this new disc,
    the artist deviates somewhat from his previous pattern. At Intransitive&#8217;s urging, he
    wrote a bit of text to describe his thoughts about composition and listening, if not this album
    in particular. This may not seem like much, but for Meelkop it is a major concession. For the
    first time, this artist who has hardly given any interviews, whose philosophy, while quite
    straightforward, has been implied but never directly described, has given listeners a way in to
    his sound world. Which says nothing of what that world contains&#8230;</description>
  </recording>
  <recording id="int_027" href="http://www.electrocd.com/en/cat/int_027/">
    <artist>Brendan Murray</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/027_INT.gif" />
    <title>Wonders Never Cease</title>
    <catno>INT 027</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Four years in the making, the music of Brendan Murray&#8217;s latest/greatest
    album of cinematic drone anthems, Wonders Never Cease, was honed during live concerts around
    New York and New England. Recorded in situ, each track was painstakingly (re)assembled and
    embellished back at Murray&#8217;s studio. While it cannot accurately be called a &#8216;live
    album&#8217;, the adrenaline thrill of live performance is palpable as soon as the opening howl
    charges out from the speakers. From the laminal scorch of the opening track, through an
    electric fizz storm and a breathy hymn for what sounds like harmonica and folding chairs (?),
    the eyes-wide-open bliss of Wonders Never Cease is exhilarating. Soulful, melodic and intimate,
    this is electro-acoustic music as gloriously life-affirming and natural as a
    sunrise.</description>
  </recording>
  <recording id="int_020" href="http://www.electrocd.com/en/cat/int_020/">
    <artist>Nerve Net Noise</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/020_INT.gif" />
    <title>Meteor Circuit</title>
    <catno>INT 020</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Nerve Net Noise is the synthesizer duo of Tsuyoshi Nakamaru and Hiroshi Kumakiri,
    who confused and irritated just about everyone with thier CD &#8220;160/240,&#8221; published
    by the Meme label several years ago. Each Nerve Net Noise album is an astoundingly thorough
    exploration of one aspect of what thier rough and barely controllable homemade synthesisers can
    do. Meteor Circuit explores rhythms and beats, but it's no minimal glitch album, and neither is
    NNN a "noise" band; they are after something much more ellusive and beautiful than mere obvious
    full-bore screech. With a strange new angle on electronic improvisation, they twisted knobs
    until their machines produced rhythmic pulses, then hit record and let the instruments decide
    what would happen next. The "natural" imperfections of the synthesizers' circuitry determined
    how each piece would evolve with little or no interaction from the artists. They then editted
    the works into a coherent, intense and (it must be said bluntly) immensely bizarre album. There
    isn't anyone else doing quite what Nerve Net Noise is doing, and no convenient genre or style
    that they fit into, which is why they are one of Intransitive's very favorite groups and why we
    are especially proud to present "Meteor Circuit" to you now. Following two albums on Kazunao
    Nagata's cult Zero Gravity label and last year's stunning "Various Amusements" CD on Hronir
    (and, of course, the infamous "160/240" on Meme), "Meteor Circuit" is the first Nerve Net Noise
    CD published in the US. Nakamura records more accessible techno-pop under the alias Tagomago.
    He also records using the alias Toki-Meki Science for Nobukazu Takemura's Childisc label. The
    band describes their sound as "electric noise music, but not academic, not mere noisy sound. We
    think that our music is not so much noise music as new kind of pop music". "No two ways about
    it, you're either going to love Meteor Circuit or think it's the most annoying con-job going in
    electronica. As for the tunes? They're surprisingly evocative. No shreds of unnecessary noise,
    the world of chirping and bleeping sounds very much like it was created with corks and bottles
    -- there's a distinctly real-world feel that's at odds with the oscillator-born nature of the
    enterprise. If you've got the tolerance and don't mind people asking you why you've got a
    recording of a car-alarm, then Nerve Net Noise's work is for you. For all the technology
    involved, there's an immensely satisfying human feel to the tunes here -- more so than in a lot
    of other electronic releases. No MIDI, no chopping, no bullshit: this is the real deal."
    -Splendid eZine "I simply can't tear myself away, listening to these tracks for hours on end,
    bewitched by these cheerful oscillations. I never feel that the sounds are grating, impersonal
    or oppressive. Rather, Nerve Net Noise make a music that invites the listener to come closer,
    to become immersed in its alluring incongruities. In his liner notes, Hiroshi Kumakiri speaks
    of creating new life with their machines; I can't attest to whether these sounds are indeed
    alive, but I can say that this music is without a doubt quite unlike anything you've ever heard
    before. Highly recommended." -Incursion "Imagine a nest of robotic birds, mechanically,
    repetitively chirping at one another, slowly building into patterns and rhythms that will drill
    themselves into your brain, causing either the euphoria of a trepanation (if you're into it) or
    simply the pain of such. But it's clear that the former is the intention. These guys aren't
    trying to make assaultive music for masochists -- they just hear things differently from most
    folks. (Is it perverse to like this stuff? 'Cause some of us here have more than one NNN cd in
    our collections...)" -Aquarius Records "A must for all analogue synth freaks." -Vital Weekly
    "(Nerve Net Noise's) music is unclassifiable analog electronica, and if anything, this CD
    pushes things deeper into the world of weird. Why? Because it seems Kumakiri Hiroshi and
    Tsuyoshi Nakamura (aka Tagomago) have decided to think of their music as an avatar of pop
    instead of sound art. With anyone else it would result in music more easy to grasp; with them
    it just makes things more impossible to describe. Meteor Circuit is one strange, unique
    experience that will probably appeal to fans of the Serge modular, the Buchla box, and the
    VCS-3." -All-Music Guide "If, in your life, you are only able to own one piece of recorded
    media, PLEASE make it the forthcoming Nerve Net Noise CD, Meteor Circuit, on the Intransitive
    label." -Greg Kelley, nmperign "Despite what an enthusiastic Greg Kelley (of nmperign) says
    about it, more than a masterpiece this record is a big shitty fraud" -BlowUp</description>
  </recording>
  <recording id="int_028" href="http://www.electrocd.com/en/cat/int_028/">
    <artist>Seht, Howard Stelzer</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/028_INT.gif" />
    <title>Exactly What You Lost</title>
    <catno>INT 028</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>This first album of cross-hemisphere hum by Seht and Howard Stelzer emerged
    organically via tapes shared through the post between New Zealand and Boston over the course of
    a year or so. Without any spoken agenda or external organizing concept from the start, the
    music willed itself into a darkly psychedelic, implacably melancholy haze. A quick scramble of
    caffeinated tape action kicks things off, then the album rapidly dissipates into a thick, black
    sleep of environmental debris and humid fog. Worn loops were played into various outdoor
    acoustic environments (playgrounds, front porches, trees, other prosaic spots), then fed back
    into low-tech machines for further harmonic decay. Shapes form in the shadows and slip away as
    the edges blur. After a few attempts to heave itself up onto its feet, Exactly What You Lost
    eventually huffs its last breath and dissolves in a cavern of industrial tics.</description>
  </recording>
  <recording id="int_021" href="http://www.electrocd.com/en/cat/int_021/">
    <artist>Howard Stelzer, Jason Talbot</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/021_INT.gif" />
    <title>Songs</title>
    <catno>INT 021</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Songs contains eight concise pieces of electroacoustic music created from cassette
    tapes and a single turntable. Since the duo&#8217;s inception on 1999, they have worked toward
    developing a unified, improvisatory sonic language by approaching their machines in a decidedly
    instrumental manner. Though the music is informed by both free improvisation and musique
    concrete, it does not fit comfortably into either category. Stelzer elicits percussive blurts
    from his cassette tapes, manually applying pressure to the motors and gears of the tape decks.
    Talbot amplifies various parts of his turntable, exploring the body of the machine with such
    objects as paper clips and balloons. Their music takes the form of energetic, tightly-focused
    pieces which may, perhaps, resemble songs.</description>
  </recording>
</label>
