<?xml version="1.0" encoding="us-ascii"?>
<label id="phthalo" href="http://www.electrocd.com/en/boutique/phthalo/a-c/">
  <name>Phthalo</name>
  <shortname>Phthalo</shortname>
  <recording id="ph_26" href="http://www.electrocd.com/en/cat/ph_26/">
    <artist>About This Product</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/26_PH.gif" />
    <title>Trash Art</title>
    <catno>PH 26</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>This is the triumphant and life affirming debut album by About This Product from
    Houston, Texas. It's an apocalyptarian vision, a chorus of many metabolisms, a toxic battle
    between neurotransmitters. Their production style shares affinities with Pita and most of the
    Mego label, Merzbow, and Iggy &amp; The Stooges. The texure of the individual sounds could be
    compared with Gyorgy Ligetti and/or the Sonic Youth electroacoustic series; the aggressive
    percussion shares common ground with The Boredoms, Black Dice, Phthalocyanine and possibly
    Autechre circa Confield. It&#8217;s a binge of sharded delays, crippled drumkits, and DSP
    overkill; this is what a present day punk band should aspire to.</description>
  </recording>
  <recording id="ph_24" href="http://www.electrocd.com/en/cat/ph_24/">
    <artist>Antenna Farm</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/24_PH.gif" />
    <title>Fog / Splinter Tracks: Early Mess</title>
    <catno>PH 24</catno>
    <year>2001</year>
    <format>
      <code>CDR</code>
      <availability>not in catalogue</availability>
    </format>
    <description>&#8220;The work on the Phthalo CD was taken mostly from pre-existing structures
    and material, then broken apart and put back together to reinvent new, fractured forms.
    Sometimes forcing two different rhythms / constructions into the same space, sometimes pulling
    the material apart to the point of collapse, then inserting guitar sounds; playing the springs
    of an old reverb unit with the casing removed; shorting out simple electrical circuits and
    dirtying signals; recording radio static and VLF radio signals and feed back loops through
    effect units.&#8221; - Antenna Farm</description>
  </recording>
  <recording id="ph_43" href="http://www.electrocd.com/en/cat/ph_43/">
    <artist>Blectum From Blechdom</artist>
    <artistdetail>Blechdom</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/43_PH.gif" />
    <title>Fishin&#8217; in Front of People</title>
    <catno>PH 43</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>The last album for this computermusic supergroup. With edits and unlikely moments
    spanning a number of live performances, this also includes some previous favorites from the
    &#8220;Messy Jesse Fiesta&#8221; on the Deluxe label (which was a prize winner at a previous
    Ars Electronica competition) and the D84 album which is also on Phthalo (PH18), as well as 2
    campy vocal pop tunes from the exceedingly evil mind of Kevin Blechdom, which is similar to her
    &#8220;I Love Presets&#8221; material on Tigerbeat 6. This is in Phthalo&#8217;s opinion the
    most raw/unrefined/thrashy Blechdom album available (containing the most messy and drunken
    moments according to the cover), and tracks such as &#8220;Rave Training Wheels&#8221; show the
    imagination and recklessness that techno can be injected with when executed by powerful minds.
    The duo will be missed, but solo careers for both Blevin (D84/Sagan) and Kevin (Forthcoming
    &#8220;Your Butt&#8221; on her own Dudini label - home of the &#8220;Boob-a-q&#8221;) look
    promising. The artwork also is rude, colorful, and provocative.</description>
  </recording>
  <recording id="ph_17" href="http://www.electrocd.com/en/cat/ph_17/">
    <artist>Kit Clayton</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/17_PH.gif" />
    <title>Shortwave Live</title>
    <catno>PH 17</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>This record is at the very least just as good as Stockhausen&#8217;s
    &#8220;Spiral&#8221;, probably even much more of an adventure what with Clayton&#8217;s
    programming tricks being involved.</description>
  </recording>
  <recording id="ph_42" href="http://www.electrocd.com/en/cat/ph_42/">
    <artist>Jay Cloidt</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/42_PH.gif" />
    <title>Dark Matter</title>
    <catno>PH 42</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Phthalo is proud to finally unveil its first release from the world of &#8220;New
    Music.&#8221; A veteran of the legendary Mills College Center for Contemporary Music scene, Jay
    has been composing since before most so-called &#8220;glitchcore&#8221; or
    &#8220;quasi-academic-cum-i.d.m.&#8221; musicians were born. Jay Cloidt has spent half a
    lifetime&#8217;s study and work on the real nuts and bolts of structuring original electronic
    music, starting in the days before digital synths, samplers, drum machines, or DSP. Dark Matter
    is the follow-up to his noted &#8220;Kole Kat Krush&#8221; CD on the Starkland label (also
    noted for the re-issue of some classic Dockstader work). &#8220;Kole Kat Krush&#8221; included
    Kronos Quartet performing the title track, which they commissioned. This album is much more
    &#8220;brute&#8221; in the Phthalo/Techno sense than &#8220;Kole Kat Krush.&#8221; At many
    points it is a thorough study of very sustained notes; it demands patience from the listener.
    Cloidt was around when concrete sounds and synthesis were very deliberate affairs, and an
    actual inherent part of the creation of the sound itself as opposed to an "added" process which
    the sound "goes through", and it shows in this work. It is all composition and synthesis - all
    very intentional.</description>
  </recording>
  <recording id="ph_18" href="http://www.electrocd.com/en/cat/ph_18/">
    <artist>D-84</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/18_PH.gif" />
    <title>Pirate Planets</title>
    <catno>PH 18</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Computer coded zap/pop/crunch/zoom/splice/doorslam-spaceship sounds reverse voices
    kickdrum/hi-hat + guitar treatments. This is the debut release of D-84, aka Blevin Blechdom
    from Oakland. &#8220;A multitrack seamless piece of musique concrete-ish zaps and bass pops,
    flying saucer 'warning signals', Theremin-esq pitch bends circa Dr. Who, reverse FM'd
    'talking", low octave crunches + hi-hat continuity, and computer language raw code programming.
    If there are 4 'fields' of electronic music (the electroacoustic, tapesplicing(concrete),
    synthesizers and music 'boxes', coded computer synthesis), then this D84 does a fusion of all 4
    of them indiscriminately. Computer music and techno suggest more and more a 'seriousness' of
    rejecting identification with any past music. Dump your taste senses for a bit and join this
    music for the sake of your non-verbal and tasteless emotions...&#8221;</description>
  </recording>
  <recording id="ph_34" href="http://www.electrocd.com/en/cat/ph_34/">
    <artist>Daedelus</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/34_PH.gif" />
    <title>Her&#8217;s is &gt; [sic]</title>
    <catno>PH 34</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>&#8220;Breakcore/hardcore/cerebral-listening-noise-sample-pastiche! Very thematic
    &#8216;story&#8217; or &#8216;narrative&#8217; (loosly please) following a woman
    rambling/rhapsodizing about difficult things and being at odds generally with all! (PHTHALO
    textbook-eh!) L.A. native Alfred Weisberg Roberts - Breakcore/oldskool DJ + Avant Garde Jazz
    Academic - shoots us a take from his history&#8217;s beginning. Artist&#8217;s debut release -
    fresh power in your face no doubt!!! Alfred&#8217;s first formal CD is now out, and I love it.
    He&#8217;s not so sure. He thinks of this as &#8220;dark.&#8221; I&#8217;ve been thinking of
    liner notes where I would note Alfred&#8217;s nascent mastery of the electronic genre, wherein
    he acknowledges his intellectual debts and from the backs of which he gazes out on the as yet
    to be charted territory of the twenty-third century. Hard-core electronic music with a buzz, a
    hook and an attitude! Jungle roots! Todd Dockstaeder&#8217;s, Robert Ashley&#8217;s, John
    Cage&#8217;s and David Tudor&#8217;s, and &#8230;&#8217;s and George Clinton&#8217;s and the
    Funkadelic&#8217;s raison d&#8217;&#234;tre. Alfred is able to turn his musical
    forebearer&#8217;s turgid academics into a leitmotive, a high seriousness that enables one to
    somesault three times in the air comfortably, and pierce the water with nary a wave I think (I
    may be biased but&#8230;) it is serious and accessible electronic jungle. I&#8217;m anxious to
    hear what you think of it. I&#8217;m going to have to rip it out of Alfred&#8217;s reluctant
    fingers in order to send it out and off&#8230;&#8221;</description>
  </recording>
  <recording id="ph_45" href="http://www.electrocd.com/en/cat/ph_45/">
    <artist>Daedelus</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/45_PH.gif" />
    <title>Axe Murderation Remixes</title>
    <catno>PH 45</catno>
    <year>2006</year>
    <format>
      <code>2xLP</code>
      <price>28.00 CA$</price>
      <availability></availability>
    </format>
    <description>Daedelus AKA Alfred Weisberg-Roberts has been very active in the years subsequent
    to his career debut release on Phthalo. He has recently issued albums on labels including
    Mush/Ninja Tune, Laboratory Instinct, Plug Research, and Eastern Developments. His live
    performances are unparalleled accomplishments &#8212; each one an epic, singular conjuring of
    transformative mania. In collaboration with Los Angeles MC Busdriver, detailed cerebral Hip Hop
    is crafted. On this &#8212; the first ever vinyl release on Phthalo &#8212; Alfred hosts a
    gathering of friends for the purpose of remixing a track of his made exclusively for this
    project entitled Axe Murderation. The theme is a short recording of a girl rhapsodizing about
    her grievances and nefarious intentions with reference to dogs.</description>
  </recording>
  <recording id="ph_19" href="http://www.electrocd.com/en/cat/ph_19/">
    <artist>Dntel</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/19_PH.gif" />
    <title>Something Always Goes Wrong</title>
    <catno>PH 19</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>After releasing the masterpiece collection &#8220;Early Works for Me if it Works
    for You&#8221;, Dntel digs again back into his vault of unreleased backlog to give another
    collection, this time a concept mini-album telling us a story about a &#8220;hero and his
    arduous quest.&#8221; The tracks have the patented Dntel romanticism of melodic themes and a
    supersaturated drum machine sense moving sometimes into the zone of &#8220;war drums.&#8221;
    These are classic tracks originally scheduled for release on a Japanese dance label long ago
    and since re-discovered by a few L.A. techno diehards who can spot classic work even if it
    doesn&#8217;t have a fancy labelname written on it. The album includes extra Dntel tracks plus
    remixes by Seq, and L.A. artist Languis.</description>
  </recording>
  <recording id="ph_40" href="http://www.electrocd.com/en/cat/ph_40/">
    <artist>Andrew Duke</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/40_PH.gif" />
    <title>Consumer vs User</title>
    <catno>PH 40</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Andrew Duke is a musician, author, and educator from Halifax, Nova Scotia. He has
    operated the Cognition Audioworks record label since 1990 and has been composing, producing,
    remixing, and performing music since 1987. Consumer vs. User is Andrew&#8217;s first appearance
    on Phthalo. It is a focused study, filling out unlikely accent schemes with abstract DSP
    techniques. The aesthetic is semi-derived from something reminiscent of classic Detroit minimal
    techno. Consumer vs. User is mastered by Mark Gage in Vapourspace, and includes two
    collaborations with Phthalo artist Massaccesi.</description>
  </recording>
  <recording id="ph_41" href="http://www.electrocd.com/en/cat/ph_41/">
    <artist>Eight Frozen Modules</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/41_PH.gif" />
    <title>Random Activities and Broken Sunsets</title>
    <catno>PH 41</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>These are the refined techniques of one Ken Gibson who has released other music on
    City Slang, Trance Syndicate, LO recordings, and Kake mix. For &#8220;Random Activities and
    Broken Sunsets,&#8221; he has developed a completely original means of producing multitrack
    soundsources. He works in a massive rhythmic study of breakbeats as well as post-concrete
    techniques reminiscent possibly of certain science fiction music; and, equally noteworthy,
    though perhaps less apparent, is the sonic clarity and alive-ness here. Absolute attention has
    been given to instrument choice and placement in &#8216;the stereo field&#8217; creating a very
    effective &#8216;widening and deepening&#8217; of the actual space that one percieves the sound
    in, as well as a very convincing &#8216;movement of that space&#8217;; The mix itself seems to
    move as one instrument. Please consider this to be one of the very first albums on record to
    actually create a &#8216;performance&#8217; WITH the space heretofore occupied by passive
    &#8216;post production&#8217; techniques. It is similar in a way to how fellow Phthalo artist
    Terminal 11 uses the edit itself as an instrument; Ken uses the whole stereo field as an
    instrument. There&#8217;s a current appearance on the Simball Sounds Recordings &#8220;45
    seconds&#8221; compilation as well as other projects out now being: DubLoner, &#8220;Thought
    Process Disorder&#8221; on the Orthlorng Musork label, Electronic Music Composer for the Planet
    Mu label, Reverse Commuter, and Furry Things.</description>
  </recording>
  <recording id="ph_22" href="http://www.electrocd.com/en/cat/ph_22/">
    <artist>Ekswyzia</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/22_PH.gif" />
    <title>Live @ Phthalo Studio 2/16/99</title>
    <catno>PH 22</catno>
    <year>2000</year>
    <format>
      <code>CDR</code>
      <availability>out of print</availability>
    </format>
    <description>The second Ekswyzia CD, following the very hard to find Logans EP. Ekswyzia
    achieves the impossible mixture of free jazz &amp; MIDI electronics. Hands down, some of the
    most bizarre music ever put to disc, from the man behind the quite deranged music of
    Phthalocyanine. Unfortunately deleted &amp; hopefully to be reissued someday.</description>
  </recording>
  <recording id="ph_20" href="http://www.electrocd.com/en/cat/ph_20/">
    <artist>Libythth</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/20_PH.gif" />
    <title>Dissolve-a-diamond</title>
    <catno>PH 20</catno>
    <year>2000</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>&#8220;first is official Libythth release and it is probably the strangest
    sounding electronica you will ever hear. These tracks are built around oddly manipulated
    samples and honking synths sequenced on a keyboard. Drums on top of drums. Sometimes it gets
    really fast and has mosh parts. Makes you imagine a lot of different strobe lights and liquid
    crystal patterns. Upside down on a roller coaster eight or ten times in a row. You could almost
    compare the feel of it to some of the more manic work of squarepusher or venetian snares, but
    way more sloppy and hilarious. Recorded in Brooklyn 1999 on a 4 track cassette.&#8221;
    -Libythth</description>
  </recording>
  <recording id="ph_27" href="http://www.electrocd.com/en/cat/ph_27/">
    <artist>Libythth</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/27_PH.gif" />
    <title>Almost a Trillion Dollars</title>
    <catno>PH 27</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>The second official Libythth release got even less reward than &#8220;Dizzolve a
    Diamond&#8221;. This one is the same kind of thing but more pop sounding, whatever that is.
    Probably beacause tracks were originally crated in 1998 before Libythth had a sampler. That
    means it&#8217;s all synth and drums straight from the keyboard. A few tracks have fresh
    scrizzatching by DJ Face-Down-In-The-River. This album is a lot more easy overall, using a lot
    of tweaked synthetic piano, guitar, and woodwind with Libythth&#8217;s specialty use of
    non-western keyboard tuning. And of course loud exciting drums, probably too much hi-hat sizzle
    in my opinion. - Libythth</description>
  </recording>
  <recording id="ph_28" href="http://www.electrocd.com/en/cat/ph_28/">
    <artist>Massaccesi</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/28_PH.gif" />
    <title>I Never Fall Apart Because I Never Fall Together</title>
    <catno>PH 28</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>&#8220;I am a fervent recycler and am obsessed with the way that materials can be
    used and reused. I try to use every piece of material I am presented with, be it fabric or
    sound. I'm rather tired of most of the ideals of the fashion &amp; music industries&#8230; but
    who with a sense of reality and humanity isn&#8217;t? Everything now is moving at hyperspeed
    and I hope somehow I reflect that in a way. A speeding garbage truck of sounds and fabrics,
    overturned and scattered. Or whatever. Your waste is my waste. My waste then becomes
    yours.&#8221; - Masaccesi</description>
  </recording>
  <recording id="ph_38" href="http://www.electrocd.com/en/cat/ph_38/">
    <artist>Mimi+Boyd</artist>
    <artistdetail>Gage, Herrmann</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/38_PH.gif" />
    <title>Angular Island</title>
    <catno>PH 38</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Mark Gage of Vapourspace and Michelle Herrmann aka DJ Punisher of Seismic Records
    Detroit collaborate as Mimi+Boyd producing Angular Island&#8230; a 9 song full length CD, and 4
    track remix EP (forthcoming beginning of 2003 with mixes by Venetian Snares, Scud, Hellfish and
    Vapourspace.) &#8220;The CD is techno pop with the emphasis on machinery&#8230; we wanted it to
    have somewhat of a hard edge to it with a pop chewy center, and kinda grooved on the whole
    &#8216;metallic&#8217; feel to the percussion. The obtuse blasts of synths and samples kinda
    remind me (Gage speaking) of bad Japanese sci-fi/Godzilla movies.&#8221; The CD is segued,
    traditional Mark Gage style, and is a triptych of clanging metals, 4/4 kicks and a manifesto of
    techno pop and the machinery of machines.</description>
  </recording>
  <recording id="ph_47" href="http://www.electrocd.com/en/cat/ph_47/">
    <artist>Pavillions Collective</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/47_PH.gif" />
    <title>Huge Pavillions</title>
    <catno>PH 47</catno>
    <year>2004</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
  </recording>
  <recording id="ph_01" href="http://www.electrocd.com/en/cat/ph_01/">
    <artist>Phthalocyanine</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/01_PH.gif" />
    <title>Navy Warship</title>
    <catno>PH 01</catno>
    <year>1997</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Thrash drum machine, heavy counterpoint; lots of value here. (K-RAA-K)3 describes:
    &#8220;It looks like a bootleg, but it has a barcode. This self-released album contains another
    attack at samplers and sequencers. Stammered, pushed and disordered analogic soundshifts flying
    fast and sometimes rhytmic through a nuisance raid.&#8221; &#8220;Musically, this stuff attains
    that &#8216;somewhat improvised&#8217; feeling through off-kilter beat shapes &amp;
    harmonically &#8216;wrong&#8217; melody clusters unlike just about every other
    &#8216;scene&#8217; currently in media recognition. And he&#8217;s based in the US. Pretty
    unbelievable stuff, fully deserving of this official release. Hectic.&#8221; (Hrvatski).
    &#8220;This bristling, livewire documentation of DIY electronics is yet another head-melting
    missive from the currently hyper-creative zones of US electronica. As indicated on the paint
    splattered cover art collage, Phthalocyanine&#8217;s, lo-fi electronic adventuring is dense and
    massively messy. It obeys its own auto-destructive, scattershot illogic, stuttering and leaking
    lo-fi noises in a staggering, multidirectional chaos. Crude beat-blasts occasionally puncture
    the mix. Rhythm clips ricochet off sounds like bursts of small arms fire. Prismatic melodies
    circle off-pace. Foggy banks of synth noise puff up and seep out across a bubbling swamp of
    electronic noise. The EP&#8217;s highlight is Navy; 3 a delicious sludge bath, where everything
    folds into its glorious, belching mess.&#8221; (The Wire)</description>
  </recording>
  <recording id="ph_03_2" href="http://www.electrocd.com/en/cat/ph_03_2/">
    <artist>Phthalocyanine</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/03_2_PH.gif" />
    <title>Viridian EP (ed. 2)</title>
    <catno>PH 03_2</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>The first &#8220;generally available&#8221; pressing of Phthalocyanine&#8217;s
    first released work-originally as Plug Research 02 in the Spring of &#8217;95, and later as
    PHTHALO 03 in August &#8217;98 as a 50 copy edition CDR. It is fully re-mastered with 4
    additional &#8220;Viridian Period&#8221; tracks. The style was much easier back then; developed
    melodics and a sense of patience in the way things unfold, and mostly no distortion or heavy
    drum machine ethics. It was more of a romantic time - pre the confrontational mess we are now
    used to from Phthalocyanine.</description>
  </recording>
  <recording id="ph_05" href="http://www.electrocd.com/en/cat/ph_05/">
    <artist>Phthalocyanine</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/05_PH.gif" />
    <title>Zacks</title>
    <catno>PH 05</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>&#8220;This work, which Phthalocyanine calls his most advanced work to date,
    features 40 minutes of his unique experimental chaotic style of experimental techno/electronica
    that continually balances on the fineline between audio chaos and order. As in his previous 4
    PHTHALO releases, the tracks are composed of disjointed rhythms, shifting melodies, dark
    atmospheres, and seemingly random sounds. After repeated listens, order slowly develops amid
    this chaotic sonic mix allowing the listener to appreciate the method to PHTHALO's madness.
    Fans of Kid 606, Lesser, The Electric Company, V/Vm and previous Phthalocyanine releases know
    what to expect.&#8221; (E.X.P.) &#8220;If the Aphex Twin is too sensible a sound and Mouse On
    Mars is too melodic, then the mad scientist ethos of Phthalocyanine is what you are looking
    for. This is the electronica sound of a tooth extraction. Spasmodic clatter ofdense walls of
    arrhythmic drill speed breakbeats.&#8221; (Aquarius Records)</description>
  </recording>
  <recording id="ph_21" href="http://www.electrocd.com/en/cat/ph_21/">
    <artist>Jason Potratz</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/21_PH.gif" />
    <title>Transfer</title>
    <catno>PH 21</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Conscious efforts have been made towards illuminating the attitudes of Acid 12"
    listening habits. Affinities for Leo Anibaldi, Woody McBride, the Junkfood label, Axis, Italian
    acid in general, non 303 sourced basslines, brightly colored 12's from Belgium and the U.K.,
    Djax, amongst many others are clearly present. Ideologies and new perspectives flow easily from
    such militantly based trainspotter ethics. Surely made by the trainspotter for the
    trainspotter-which may be the purest form of music; a complete disregard for commercial
    viability. PHTHALO is very proud to finally offer it's first presentation of Acid based
    music.</description>
  </recording>
  <recording id="ph_15" href="http://www.electrocd.com/en/cat/ph_15/">
    <artist>Sistol</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/15_PH.gif" />
    <title>Sistol</title>
    <catno>PH 15</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Stripped loops beats delays filters. Artist from Chain Reaction, Max Ernst, and
    Sigma Editions issues first full length for Phthalo. Bumpy asymetrical time sense, digital
    scrape artifacts and smudges, all propelled forward with straight tempo instruments and dance
    approach. All around the beats are filtered hiss instruments and sine wave bass accents on odd
    beats as opposed to &#8217;even&#8217; basslines on the one. Nothing seems to be on the one.
    Everything is carried forward by quarternote kicks but the rest resembles some kind of prime
    number type rhythm music. African folk music will be made with computers someday.</description>
  </recording>
  <recording id="ph_16" href="http://www.electrocd.com/en/cat/ph_16/">
    <artist>Stalaktiten och Mirjam</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/16_PH.gif" />
    <title>&#197;ngestmaskin</title>
    <catno>PH 16</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <availability>not in catalogue</availability>
    </format>
    <description>Extreme synthesis experiments computer coded soundeffects. &#8220;Brilliant
    26-theme collection of relatively short 1/0 themed constructions by one Martin Abrahmsson (aka
    Bauri on the Saundart/Pitchcadet/City-Centre Offices/etc. labels), an electronic music producer
    based outside of Karlskoga, Sweden who claims to 'design sounds equivalent to hardcore mind
    magic, heavy mental noise love and lush polyexpanding units of lucky fresh feelings'. Ack
    (working on locking that thought away somewhere dark). Whether on not he's situated on the
    right bank of the self-presentation river is of little consequence; this has got to be one of
    the most sorted/eclectic sets of digital audio fuckery to come out of ANY camp over the last
    few months. Nice tidy IDM, minimal pulse bits, and analog washes are laced with blasts of
    random static/feedback/gangsta lean/Mego-isms/etc... An instant SAS classic.&#8221; --
    Hrvatski.</description>
  </recording>
  <recording id="ph_39" href="http://www.electrocd.com/en/cat/ph_39/">
    <artist>Terminal 11</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/39_PH.gif" />
    <title>Speed Modified</title>
    <catno>PH 39</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>The self-trained innovations and debut public release thereof of one Mike
    Castaneda from the American Southwest. In his own words: &#8220;&#8230; these are works based
    on an extreme lack of sleep and attention span. Tracks based on my efforts to speed and
    maintain. It&#8217;s an outlet for my pent up aggressions and emotions which vary throughout
    the album, making me sick and esctatic to have made it. I see it as starting it, destroying it,
    then questioning it. I&#8217;m fucking hell bent on making things worse.&#8221; It is
    mesmerizing, and jarring at the same time. It seems as though there is &#8220;no
    instrument&#8221; or rather ultra &#8220;Speed Modified&#8221; snapshots of both musical and
    non-musical moments. The notion of &#8220;a piece&#8221; -a single &#8220;track&#8221; or
    &#8220;song&#8221; seems discarded for a sort of ever-evolving beat ridden edit-scheme of
    bursts, stabs, slashes. It is like the edit itself is the instrument, as in early Mantronix,
    but with the contemporary soundchoices post-Squarepusher/Spy Mania, post-Venetian Snares, and
    also post-industrial, etc. Hard, fast, funky, mad, and fully alive-with-energy.</description>
  </recording>
  <recording id="ph_51" href="http://www.electrocd.com/en/cat/ph_51/">
    <artist>Terminal 11</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/51_PH.gif" />
    <title>Don Maximo / Postmod Premax</title>
    <catno>PH 51</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>The mind-dissectingly sharp follow up album to the critically acclaimed debut
    Speed Modified by the master of firestorm drum bombardment, Terminal 11. Volleys of snares are
    compacted into a continuum of amphetamine overdosed edits. The patterns relentlessly limp,
    stutter, spin, turn upside down and inside out and then do miraculous backflips, somersaults,
    and other hard to describe tricks. These tracks channel the siren's song from the muse of
    mania. He's had compilation appearances on the Open Up and Say&#8230;, and Paws Across the
    World 2003 releases (both on Tigerbeat6). He has releases due out soon on Tigerbeat 6, Cock
    Rock Disco, Violent Turd, No Room For Talent, and Zod (both a split 12" with Phthalo artist
    8fm, and an appearance on an untitled 12" compilation), and is gaining vehement support from
    Donna Summer, Xanopticon, Duran Duran Duran, and Dev Null.</description>
  </recording>
  <recording id="ph_33" href="http://www.electrocd.com/en/cat/ph_33/">
    <artist>Tu M&#8217;</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/33_PH.gif" />
    <title>Pink Shark</title>
    <catno>PH 33</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
  </recording>
  <recording id="ph_35" href="http://www.electrocd.com/en/cat/ph_35/">
    <artist>Vid</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/35_PH.gif" />
    <title>Fragrant Stirrings</title>
    <catno>PH 35</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>This is the debut album by Vid aka Televasquez from the Incomplet label out of the
    Oakland/Berkeley area. Clear sound design and production, patiently molded into bites of mainly
    tonal situations set over slow moving drum machine patterns. It will focus on a pass of just
    one tone/beep/hum/buzz, and then manipulate it differently on each new pass, &#8220;stirring
    the fragrances&#8221; and creating atmospheres that are not beligerant but still demanding of
    scrutiny and repeated listens. Similar ideas which might compare include &#8220;The Mimic and
    the Model&#8221; from the Cytrax group as well as certain moments from Chessie&#8217;s early
    recordings.</description>
  </recording>
  <recording id="ph_29" href="http://www.electrocd.com/en/cat/ph_29/">
    <artist>Wobbly</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/29_PH.gif" />
    <title>Live 99&gt;00</title>
    <catno>PH 29</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>Jon Leidecker has been producing music under the name Wobbly since 1990, but has
    been involved in electro-acoustic livemix radio improvisation since 1987. Wobbly concert
    appearences involve no laptops, no sequencers, no midi; edits are manually executed in real
    time using a mixer and several inexpensive samplers. Releases include the 3&#8221; CDs
    &#8220;Regards&#8221; for Alku, and &#8220;Playlist&#8221; for Illegal Art. Ongoing studio and
    live projects involve collaborations with People Like Us, Thomas Dimuzio, and Chopping Channel,
    a quartet featuring Leidecker and three members of Negativland (Don Joyce, David Wills and
    Peter Conheim).</description>
  </recording>
</label>
