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Follow up review on Yosuke Tokunaga 2 Yosuke Tokunaga: 11 Buttons Reviewed format: CD in Handmade Package This is my second follow up review to my review of 6 Nomads by Yosuke Tokunaga. Note that yesterday I misspelled the name of that album as "8" Nomads, apologies for that, it's hard to correct on Tumblr as the whole layout gets destroyed if I edit the text, for some reason. So that's why I prefer to correct the mistake in this new post instead. 11 Buttons is packaged similarly to 11 Cloths, the CD is again housed in a stamped cardboard CD case with a little plastic bag containing 5 buttons (Buttons from the title) as well as the sticker with the number 11 and the thin piece of paper with the track titles stamped on. Just like 11 Cloths Tokunaga presents us here with a journey containing familiar elements but this time things get more abstract and indeed much more minimalist, let's take a look at the music. 11 Buttons starts off with the track Casein, and immediately there's a difference noticable between 11 Cloths and 11 Buttons, there's more samples from music, vinyl piano and vocal samples, as well as a focus that's less on creating a landscape and more on a quiet kind of "home" feeling. 11 Buttons is like the "night" counterpart of 11 Cloths, a much more introvert and calm, brooding, quiet kind of atmosphere, you could also say, "11 Cloths Afterhours". This does mean however that there's a change up in approach to the music from the more active field recordings playing around on 11 Cloths to a more entrancing "stationary" ambience. There's less happening on these tracks over time but the ambience itself and the way the pieces from one to another keeps a good feel of the music intact. Epoxy is like a beatscape of a bird garden inside a building, Tokunaga does reuse his sounds again but the overlap in music does work well as constant new mutations of the music over time. Horn is a pretty deep track which features a different style of drum sounds, more acoustic sounding but still wooden and clanging, the drone in the background is much more diffuse but there's even some elements of Jazz in here as well as an upright bass, an actual bass melody almost. Nut reconfigures the birds + water sound from 11 Cloths into a more choppy experimental structure, the kick very heavily thumping into the sound design, very nice. Resin is more of a drone piece, focussing a lot on the melodic element itself as well as adding some vocal sounds filtered and delayed into the mixture, flowing and phasing as well. Brass brings us a fragmented low piano melody, slow slow moving groove and a kind of lazy late night café vibe. ABS features a very resonant drone but also some awesome layered wooden percussion, lush vibes! Urea is very choppy and glitchy, coffee table piano party groove, that's what it sounds like, pretty much. Wood is very appropriately titled especially after mentioning wood so much as being part of the drums of Yosuke Tokunaga, this is very minimal, but entrancing and some great delayed field recordings are being used here. Metal is not really more metal sounding in its drums, though yes, the cymbal sounds like an actual metal cymbal and the choppy music sample, field recording mixture is really pleasant. Final track Shell is so deep and spacious, great atmospheric closing track, but just like 11 Cloths the ending is never a true end as Yosuke Tokunaga's cycle of album keeps evolving over time, you just want to listen to more and more. 11 Buttons by Yosuke Tokunaga is yet another good part in his cycle of deep underground beats albums, while its more abstract and minimalist sound might make it slightly harder to get into than 11 Cloths, the change up keeps the music fresh and always deep and flowing with ambience and groove. Check it out. CD in Handmade Package and Digital version available from Yosuke Tokunaga’s Bandcamp page: https://tost.bandcamp.com/album/11-buttons

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Follow up review on Yosuke Tokunaga 1 Yosuke Tokunaga: 11 Cloths Reviewed format: CD in Handmade Package After reviewing Yosuke Tokunaga's great recent tape on Strange Rules, 8 Nomads, I sent the review to Tokunaga himself and he liked my review, but also recommended me to check out two of his previous albums, self-released by him on CD in these rather nice minimalist handmade packages. In the case of this album, 11 Cloths, the CD is housed within a stamped cardboard CD case with a little plastic bag containing three pieces of fabric (Cloth) attached to it. There's also a stamped sticker at the top of the case with the number 11. And on the back a thin piece of paper with the track titles (types of fabric) stamped on it. It's a rather nice DIY kind of presenting the music, although the bag with cloth let loose from the cover when I tried to get out the pieces of fabric to feel. The glue is a bit weak, but I guess that's kind of the fun thing of handmade packaged music releases, you can play around with it any way you want, even if certain elements let loose literally. That's why it's housed in a resealable plastic bag. Now that I've discussed in short about the physical aspect of 11 Cloths, let's get to the actual music now. Stylistically 11 Cloths is pretty similar to 8 Nomads, although this album is actually much lighter and brighter sounding in general. The music does feature the same ingredients as 8 Nomads though, the very loose (bassy!) drums, piano samples, all kinds of field recordings, recording noise and mysterious ambience blended together. And just like 8 Nomads, 11 Cloths 11 track fade into eachother rather seamlessly, creating a smooth ride of music. The whole album feels like a really relaxing kind of soundtrack to "life in a day", a flow of impressions, mystery, slow pace moving you forward, a sunny day of deep thoughts. First track Tulle kicks off the album, sounding like an oasis, the piano quietly flowing but it's also accompanied by strange human and wooden field recordings, interesting. Amunzen is a drone based piece, with pleasant vibraphone samples throughout. Organdie is like sitting in the park in the bright nature, the water of the nature flowing, the birds chirping and the reverberating melody sounding both like the melody of nature as well as the melody of a city with again an off the wall sense of mystery. Linen features a glitched up drone and some cool dubby clacking repeating percussive sounds, deep and entrancing. Diagonal is a more lo-fi kind of piece and features the amusing sound of little ducks, again, slow pace but with an "inside" sounding noisy piano sample leading the track this time, continuously being panned left and right. Venetian has some pointy percussion but also a lovely bubbling drone ambience and nicely weird pitch voice samples thrown in, very nice. Astrakhan then is much more abstract, similar to Diagonal the melodic element is noisy and a bit lo-fi, the much more minimalist and abstract sound does make this piece feel a bit "empty" perhaps but it does change up the sound of the album a bit and keeps things progressive and surprising. slab is seriously spooky with its tense orchestral samples and really strange field recordings, very intriguing. Lace is a minimalist, rotating a five note motive in a structure of wooden rhythms, meditative and stationary without meandering. Chambray chops up various music samples in a noisy nature themed beatscape. Twill is a deep closing track, very atmospheric and there's definitely a Dub Techno influence in this one, awesome deepness. Nice closing track definitely. 11 Cloths by Yosuke Tokunaga has a similar sound palette to 8 Nomads but this time Tokunaga takes us on a trip through daily life in an atmospheric manner. While the ingredients are again similar per track, the conceptual consistency of the music and seamless flow of the album make this album another joy to listen to and again bring a great balance between the groove base approach of a beat tape and underground lo-fi experimental ambient. A great listen. CD in Handmade Package and Digital version available from Yosuke Tokunaga's Bandcamp page: https://tost.bandcamp.com/album/11-cloths

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Strange Rules RULE-157- Yosuke Tokunaga: 6 Nomads Reviewed format: Limited Cassette Edition (still available) It's only a week since the last review on this blog, but I thought it'd be nice to post reviews on my blogs a bit more often to keep things more lively. So today I got for you this recent release on the Strange Rules label run by Cremation Lily, this is 6 Nomads by Yosuke Tokunaga released on this lovely white cassette tape. This album is quite a different kind of music compared to the NWW reissue I last reviewed. Here we have some great lo-fi droney waves of textural sound. This album feels a bit like a beat tape in a way, the 6 Nomads on side 1 being a pretty relaxed albeit mysterious flow of music from track to track, whilsts side 2 is a bit darker and also features a beatless closing drone track called S R (demo) which is presumbably a demo track Tokunaga originally sent to the Strange Rules label before they've compiled this release together. So let's have a look at my impressions of this music Side 1 features the 6 Nomads tracks, 6 tracks indeed. All tracks have the word "Nomads" spaced differently, so this already points out a strong sense of coherency and continuity to the music. And indeed track 1 N omads kicks off the album with all the ingredients of the music, we've got a loose clacking "wooden" kind of beat with some light industrial sounds in the percussion, a warbled "degraded" drone, the tones of a piano, everything together creates this rather loose and relaxed kind of atmosphere with that lovely swing in the beat that feels lo-fi and "distant" yet also calming. No mads continues this vibe, this time with a more dissonant drone and more activity in the percussion field. Nom ads focuses on a continuous diffuse drone and more of a subdued acoustic sound in the other textures scattered around the beat, more like a Ambient cloud kind of track. Noma ds continuous the diffuse continiuous drone style but is more minimal in sound, with simpler percussion as well as some cool weird bursts of saturated noise. Nomad s is very brooding and mysterious, with muffled strange bird sounds and a heavily filter drone accompanying the again minimal beat. Very interesting sound. The last track of side 1 Nomads brightens things up a bit again, although the music is still mysterious and deep, it really does feel like a calm stream of water yet surrounded by metallic noises, intriguing. Side 2 starts with a blank track called blank. I'm not entirely sure if it's meant as a kind of seperator between the two sides, but the blank track on the download is almost silent just like I heard on the tape, so it's probably a seperator. No mads is indeed a track name we've also seen on side 1, but in fact this is a different darker track, still carrying a similar style to side 1. While not much darker than side 1, No mads does feel much more leaning towards a more "scary" ambience and brooding distant rumbling, its diffuse drone still matches it with side 1 though, but the darker mystery is definitely a nice change up from side 1. N omads (another situation) continues the darker atmosphere, in name it's like an alternate version of N omads, but in fact this track sounds quite different from that one, much more uncertain sounding in its textural meaning and the percussion also gets a bit of a harsher metallic edge to it. Nom ads (another situation) definitely sounds like a clearer alternate version of the track Nom ads, it's mostly brighter and higher pitched, sounding like a "hi-fi" version of that track, curious. The last track S R (demo) is like I mentioned before, probably a demo track Tokunaga sent to the Strange Rules label before they compiled this album together. It's a nice drone track that definitely feels like the inspiration of the washy lo-fi feel of this album in general. A great closer to a great album. 6 Nomads by Yosuke Tokunaga is a great album to dive into for those early mornings or late night listens. A relaxed yet also mysterious listen that never bores or gets repetive, it's like the lo-fi distant version of a beat tape of instrumentals. And while I do feel the beats could sometimes use a bit more variation in the sounds used, the album is very consistent, short but sweet and always hitting the exact right inventive, introvert and experimental spots to come back to again and again. A great listen for people looking for something a lot more underground yet ambient than your average beat tape, this is accesible but never compromising its investigative deep lo-fi textures. Limited Cassette Edition and Digital version are available from the Strange Rules Bandcamp page: https://strangerules.bandcamp.com/album/6-nomads

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UNITED JNANA UJ 366- Nurse With Wound: Homotopy To Marie Reviewed format: CD 4 panel digipak (2 copies available, almost sold out) It's been some months since the last review on this blog so let's continue with this next release, this is the 2007 reissue of the Nurse With Wound album Homotopy To Marie, released on UNITED JNANA. This is another excellent release of underground music that I've had the pleasure to listen to and it's also the very first Nurse With Wound album I've listened to, having read about NWW on various sites before I was intrigued to check Steve Stapleton's (and the ever rotating line-up of collaborating artists) music and so I took a dive into this album as my entry in the ever-growing NWW discography. And what a ride this is, Homotopy To Mary is some of the most mysterious and strangest dark experimental music I've heard so far, this is truly an album to listen to in full darkness for the best effect and the way this music moves forward definitely encourages multiple listens to get into this. So let's have a look at the 5 tracks contained on this reissue of this album (the original album was 4 tracks long) and my impressions of this music. I Cannot Feel You As The Dogs Are Laughing And I Am Blind kicks off the album with crackling sounds of something that sounds like glass, fragments cracking which then transitions into what sounds like attic atmosphere, water dripping, strange voices making weird vocal sounds. It's a track that's definitely completely open to interpretation, in fact the whole album definitely sounds like you could imagine some kind of story of every one of these 5 tracks or combined together. There's a lot of distant mystery and craziness in this first track and especially the "spooky" voices can be a little disturbing for people who haven't heard a lot of avant-garde music before, but I recommend to do listen. Listen deep however, as this first track does also feel like a rather strange meditation of sorts with the admittedly funny Japanese sample at the end cutting it off rather abruptly, nice. The next track, title track Homotopy To Marie is a long piece featuring a long reverberated cymbal being played creating again, a kind of meditative atmosphere, although this time effects are added to the cymbal sound gradually making it sounds a bit dubby, slightly psychedelic. This is combined with samples of girls, one of them saying "Don't be naive, darling" and the other mentioning a funny smell, combined with the creaking, high pitched tone that's coming up after some time, this feels again like a bit of an uneasy feeling but still intriguing track that is deep and abstract, but also strangely quiet like a meditation. This track is followed by Astral Dustbin Dirge, this is an additional track added to this reissue, not originally part of the album. It works fine in between the other pieces on this album however and in terms of sound elaborates a bit further on the high pitched tone sound but this time it's used as a kind of "notifying" sound almost, like a blinking light in a zoo of strange animals and garbled female voices. This piece has some especially extreme dynamics and grabs you with its burst of rapid tape splices and animalistic vocal growls while still maintaining this great atmosphere of darkness in the background, the drones and blinking tone forming a base of this piece. This is definitely not random tape manipulation for shock, this is deep stuff. The Schmurz (Unsullied By Suckling) follows and get ready for some harsh stuff, with some bursts of raw Noise and high frequency intensity, this is the most intense piece of the album. Tape edits of intense Spanish talking, rambling metallic piano and other rattling instruments as well as a choral piece accompanied by a long burst of harsh noise are all through this piece. It's quite an intense ride but the juxtapositions of Noise, avant-garde acoustic performances and tape edits are very unsettling but also exciting at the same time. The noise really gives the right senses of unease but the way the piece is composed also gives it a dynamic feel in the musical tension of all this. Final track The Tumultous Upsurge (Of Lasting Hatred) is a short final piece of manical laughing, metallic banging, all EQ'd to sound a bit harsh and grating, it feels like a bit of a reprise from an earlier moment on Homotopy To Marie, as it uses similar sounds but it's definitely a fine little moment to end this album with. With that being said, I do have to mention though, that some of the sounds on Homotopy To Marie are used in multiple tracks, so while these are all 5 seperate tracks, there is definitely also some consistency in the sound of the music as a whole, so it helps to see this album as a kind of sonic story you can imagine in your mind. So while I'm often for variation of sound per track, in this case it really helps the album that some sounds pop up in multiple tracks. Homotopy To Marie by Nurse With Wound is definitely not an easy listen of experimental music, but its layered textures and editing make it a very intriguing ride of music for those who're ready to dive into the awesome weird world of NWW's music. Definitely recommended for people interested in Industrial, Noise, Sound Collage related music but also anyone looking for some properly dark and exciting underground music in general. CD 4 panel digipak version and Digital version are available at the Nurse With Wound Bandcamp page: https://nursewithwound1.bandcamp.com/album/homotopy-to-marie

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SUB ROSA SR190- Various Artists: AN ANTHOLOGY OF NOISE & ELECTRONIC MUSIC #1 first a-chronology 1921-2001 Reviewed format: 2CD digipack + 37 page booklet (still available) Welcome to Broken Hz, a new blog I've started for 2018 on which I'm going to expand on my project to document and review underground, extreme and experimental independent music on physical formats as released through various prolific record labels, the Cobalt Mindwave tapelabel blog is also part of this project and will also be updated later this year. Let's get right into the very first release I'm reviewing for Broken Hz. This is an excellent compilation released on Belgian label SUB ROSA which ever since the 80s released a wildly expansive selection of music in the fields of classic experimental electronic music pioneers, obscure folk music from countries far away, Fluxus works, classic and new music by contemporary composers and also plenty of music in the fields of Noise and related extreme music practices. This 2CD release AN ANTHOLOGY OF NOISE & ELECTRONIC MUSIC #1 first a-chronology 1921-2001, packaged with 37 page booklet features a rather wide-reaching selection of experimental electronic music by a variety of artists and composers and clearly showcases SUB ROSA's radical different approach to documenting classic and unreleased music like this. From the start in the booklet, Guy Marc Hinant points out that this anthology is in no way a traditional academic or chronological collection of electronic music. And after having read the included notes in the booklet as well as having listened to the 2 CDs of this compilation I can tell that this compilation is compiled in a way that instead of telling you as a listener how the history of Noise and Electronic music was in a dry manner, this anthology clearly lays out connections between pieces featured on the 2 CDs that are much more based on their sound, textures than mere historical significance / importance. This first volume is a joy to listen to as, rather like a mix the pieces flow rather naturally in the stream of sometimes Noisy, sometimes more abstract and quiet music that is presented here. Due to the free form and flexible presentation and enjoyable liner notes (that also show the thought process behind this compilation in a really fun way) you can also find connections between the pieces on this collection and electronic music of today. But like the title points out, this anthology is really focused most of all on Noise in the history of electronic music and is not going for the "traditional" expanded modern classical composition that other compilations dive into but gets straight to abstracted, intense and sometimes Harsh music. So this compilation is definitely one for people new to Noise and Industrial music or Noise fans, as most of these pieces have barely anything resemling melodies, instead being focused all on the deeper aspect of concrete and created sound, composed, structured or destroyed. Let's have a look at 18 tracks contained on these two CDs and how they often relate rather well to eachother. 1. kicks of with probably the first ever Noise piece recorded, Corale (1921) by Luigi and Antonio Russolo. It is an obviously already lo-fi piece of futurist art and while the noises the Intonarumori Noise devices make aren't easy to make out, the mixture of the orchestral music and strange rumblings still causes an effect of slight unease to me. Mysterious like an orchestra playing in a storm, the piece introduces the effect much Noise would continue to cause, a feeling of unease, mystery and (as shown later on on this compilation) danger. This is followed by the film without picture Weekend (1930) by Walter Ruttman, a piece that appropriately introduces the concept of sound montage. It's really fun and sounds like an absurd story of a rather wild weekend holiday in Germany. The industrial sounds and speech recordings in very old-fashioned german are rather hilariously edited together. I can imagine the audience who originally "saw" this film must have had quite some fun listening to this as it's very accesible in its light-hearted sense of humour. This piece is followed by the classic Cinq Etudes de Bruits: Etude Violette (1948) by Musique Concrete pioneer Pierre Schaeffer. This is classic musique concrete, a mixture of train sounds and mysterious instrument recordings. It's much more rhythmic than the previous piece and shows a rather more melodic and emotional side of organized sound. This is followed by a totally different kind of music, Scambi (1957) by Henri Pousseur, this piece features a lot of well-known elements from early electronic music, also called tape music, like the many silences in between the sounds, but this piece has a remarkably glitchy sound for its time. It's very abstract, it consists of a lot of glitchy noises, sometimes peaking into tape saturation or flowing into old-school reverb effects. It's one of those pieces that really feels like pure Noise sound worship, but it's definitely dynamic and exciting to listen to as well. The choppy progression and silences do disrupt my attention a bit while listening to it, so in this hyperspeed day and age, it takes more attention to really get into this. This piece is followed by The Dresden Interleaf 13 February 1945 (1965) by Gordon Mumma, again a piece that features a lot of those silences, this one's harsher though, with much more variation in sound texture. It couples well with Scambi though, in that it follows the Noise based composition style. Plenty of harsh Noise in here in some parts but also mysterious drones and a part of the piece builds up into a rather surprising loud climax. I won't spoil too much, have a listen. This piece is followed by Trance #2 (1965) by Angus MacLise, Tony Conrad and John Cale, a droning, hypnotizingly flowing piece that is admittedly more lo-fi in the recording quality than I expected but it doesn't take away from the fact that this is a rather captivating and immersive piece of music by three well-known veterans in Avant-Garde music. It might not be very "electronic" but it's percussion, metallic and almost industrial like, does add a surprisingly slight element of harshness to the generaly relaxing atmosphere. This is followed by a piece that on paper mind sound like a strange follow up track to Trance #2 but it works very well actually. This piece is called Untitled #1 (2000) by Philip Jeck, Otomo Yoshihide and Martin Tétrault, again a droning piece of some sweet turntable music by Philip and Martin coupled with Yoshihide's signature sinewave and Noise abrasion, though in this case much more subtle than I know of him. Based on what I read I think that a lot of the ambience is created by Philip Jeck, while the turntable noise rhythm is Martin Tétrault's work and wow is it a great piece, plenty of dynamics and some amazing bass created by the turntable make this a great introduction piece as well for all of these three artists. The piece is followed by October 24, 1992 Graz, Austria (1992) by Survival Research Laboratories which is essentially a sound recording of a live performance by the legendary industrial performance group. It is the piece on the compilation that's most similar to plain Noise and even more so because of the added distortion / overdrive added to the mix (probably). It definitely sounds like an event that you should've seen actually, but the recording with its bursts of low pure distortion filth and the weird cartoon sounds involved is a nice listen of Noise, definitely satisfying. This piece is followed by Küchen Rezept von Einstürzende Neubauten (1998) by Einstürzende Neubauten, which is pretty much what it says on the tin, sounds of cooking by Einstürzende Neubauten but there's also a mysterious faint guitar-like drone in the background which does make the piece a bit disturbing actually, interesting. 1. ends with Aspekt (1966) by Konrad Boehmer, a very intense piece of some good old-school synth Noise mayhem. The composition is very very dynamic and satisfying to listen to with its endless barrage of rhythmic and glitchy / harsh Noises being fired at you. This is great. 2. starts with Hommage à John Cage (1958-59) by Nam June Paik, a strange sound collage of noises that features a lot of disturbingly mangled voices, I found it a bit more disturbing than enjoyable at first but after listening I think it does have its original qualities to it. It's a grower for me personally. Rozart Mix (1965) by John Cage that follows it is better though, it's one of Cage's Electro-acoustic proto-plunderphonics style piece of clashing sound mayhem. What I like about this piece though is that while at times the piece sounds rather chaotic with its stack of music recordings and speech samples clashing frontally into eachother, it has again some rather funny elements to it, tho again also disturbing. The chopped up baby sounds add a great element of rhythm to the sound but also sound disturbing at the same time. Rozart Mix does have a great sense of texture to it and even with all the weird sound manipulation going on, the cloud of sound is quite relaxing in some strange manner. This piece is followed by Audience (1983) by Sonic Youth. It's admittedly another piece on here that'll take time for me to like really, it's basically a live manipulated (down pitch shifted) recording of the audience after a Sonic Youth concert. It's interesting but does require a less direct more trancelike way of listening, cause honestly not a lot happens in here really. The piece that follows it is better though, it's Poème électronique (1957-58) by Edgar Varèse, a classic piece of electronic music, composed in a tape music style but what makes this so unique is the mysterious element the theremin (?) adds to the mixture, with so many concrete sounds and textures being used, the "melody" gives this piece such a nice sense of cohesion that it really feels like telling a story rather than pure sound enjoyment. What follows then is companion piece Concret PH (1958) by Iannis Xenakis, a nice sweep of sound that feels like tiny little stones falling in a cave, it's like a sonic massage of the ears, very pleasant. Afterwards we have the piece FTP > Bundle / Conduit 23 (2001) by Paul D. Miller aka DJ Spooky That Subliminal Kid. It's a kind of plunderphonics / drone ambient hybrid piece that is pretty dark in its ambience but the music sample glitches layered over the ambience add a nice bit of abstraction to the deep flow of music. I like that these piece also has an old school "CD player skipping" sound in the glitches, sounding much more hands on than the clean cut glitches of nowadays. Very deep and original. After that we have a piece that is another favourite of mine on this compilation. A little Noise in the System (Moog System) (1966) by Pauline Oliveros. It's a (in 2001 unreleased) piece of music by Pauline Oliveros that predates a lot of Noise music of nowadays but has that very predicting forward-thinking sound of Oliveros. It is indeed for the most part a lot of modulated white noise that this piece consists of, coupled with Oliveros's signature high frequency manipulation techniques adding often strong intense washes of sound signal to the mix. Yes it gets very intense and harsh at times, ruthlessly blasting an enormous amount of high frequencies in your face but it's very progressive too, not just soundwise but also composition-wise. And the beds of white noise feel rather relaxing after some time, like a blanket of sound to put over your head. This is followed by what might be the most courageous piece to follow this up with, One Minute (1997) by Ryoji Ikeda. Yes, more high frequences, courtesy of Ikeda's now signature pure sine wave glitch rhythm, this track features some bursts of random sound though, and ends appropriately with a test-tone. A great ending of 2. and this excellent compilation. AN ANTHOLOGY OF NOISE & ELECTRONIC MUSIC #1 first a-chronology 1921-2001 is an interesting selection of experimental and Noise music throughout the years that is uncompromising in its selection and offers a rather varied look at all the possibilites and creativity that's been worked on in these 18 pieces. The 37 page booklet in the CD version is a great inspiring read as well as a nice reference to the CDs. It's a great mixture of music to listen to on its own or as introduction to more music by these artists and while not all tracks might be equally strong, there's no bad tracks on here. A recommended compilation for Noise and experimental music fans and people new to Noise and related and its exciting history. 2CD digipack + 37 page booklet version is available through SUB ROSA: https://www.subrosa.net/en/catalogue/anthologies/an-anthology-of-noise---electronic-music-1.html digital version is available on the SUB ROSA Bandcamp: https://subrosalabel.bandcamp.com/album/an-anthology-of-noise-electronic-music-1