News from the Sonic Arts Network

04 August 2020

Are You Up To Date?
The next in our specially curated CD series will be mailed out to SAN members next week (see below). Please make sure that we have your current postal and billing address in your members account at our webshop (Billing addresses are needed for your account to activate even though you may not intend to purchase SAN merchandise over the internet – we do not need credit card details either).

SAN Job Opportunity
Sonic Arts Network are looking for an experienced Information Manager to maintain and develop our online presence and to further our links with UK practitioners through our membership scheme.

A savvy web manager with good organisational skills and an interest in contemporary music and art, you will be part of a small team working on exciting projects with partners including the BBC and NESTA, and you will be at the hub of an information network for artists from around the world.

This is a full-time post based in London with a salary range £16,000 - £20,000 p.a.

For a job description and further information please visit

To apply please send a CV and covering letter, detailing relevant skills and competencies by 5pm on Friday 20th August to: The Chief Executive, Sonic Arts Network, The Jerwood Space, 171 Union Street, London SE1 0LN or email your application to

The Agents of Impurity

The agents of impurity is a celebration of guilty pleasures, as viewed through the lens of the historic avant-garde - a place which despised such impulses.

If there's one thing that revisionist history has done, it’s been to bring historically marginalised figures into front and centre. Using audio examples from Antonin Artaud to Sean Landers, and textual works from Gertrude Stein to Dan Graham, the works presented here challenge their received histories and genres, and by doing so, speak directly to our sense of the present; a present ruled by the constructive chaos of decentralised horizontal media, as well as the celebration of notions like ‘incorrectness’ and ‘uncreativity’. Based on avant-garde art, but not avant-garde art, the sights and sounds within just might be the new avant-garde (assuming that the newest art will look/sound nothing like what we know to be art today).

01. Antonin Artaud - “sound effects beating and exchanges between Roger Blin and I” (1947)
02. Vito Acconci - “Ten Packed Minutes” (edit) (1977)
03. Erik Belgum from - “Bad Marriage Mantra” (edit) (1997)
04. Neil Mills - “Seven Number Poems” (1971)
05. Asa Chang & Junray - “Kutsu” (edit) (2003)
06. Reese Williams Excerpt From - “The Sonance Project” (1979)
07. Caroline Bergvall - “About Face” (2002)
08. Language Removal Services From - “The Static Language Sampler” (2002)
09. Sue Tompkins - “Country Grammar” (Edit) (2003)
10. Takayuki Nakano From - “Comes Sabotag” (Edit) (2002)
11. Ergo Phizmiz From - “Sticky White Glue” (Edit) (2004)
12. Jaap Blonk And Radboud Mens - “Blaf” (2002)
13. Dokaka - “Angel of Death” (2002)
14. Todd Colby - “Cake” (1993)
15. Sean Landers - “The Man Within” (Edit) (2000)

Poetry, Text & Image
Bob Brown - “My Mosque” & “Eyes on The Half Shell”Ron Silliman - “Sunset Debris” (Excerpt)B P Nichol - “Eyes”
Gertrude Stein - “Five Words in a Line”
Samuel Beckett - “Watt” (Excerpt)
Eduardo Paolozzi - “The Mighty Atlas Enters Space”
Bern Porter - “The Happy Jackie”
Claude Closky - “The First Thousand Numbers Classified in Alphabetical Order”
Pete Manson - “Adjunct: an Undigest” (Excerpt)
Dan Graham -  “Miles To...”
Aram Saroyan -  “Two Poems”
Darren Wershler-Henry - “The Tapeworm Foundry” (Excerpt)
Artist Unknown - “The Free Jack Ad’s”


10-16 August
Untitled Show
(Sound Installations)
The Cockpit, Freeth Street, Birmingham

Ana Benlloch, John Rogers, and Stuart Tait will be showing a series of text and audio installations. (This "show" is as yet unnamed at time of publication).

7-11 August
Sound Postcards from Bow
Bow, London

Using the focus and intensity of 20 second sound recordings, we will explore the ephemeral aural geography of Bow. Exposing detail and time / site-specificity in sound. The work is the act of capturing and sending the sound postcards.

The sound postcards will be brief sound recordings (up to 20 seconds) made throughout the Bow area, in collaboration with local participants / artists. We will collect sound events and 'snap shots' of ongoing sound environments / edges cut out of the audible. We will record interventions; known noises; tiny secret sounds; the beautiful and the irritating. We want the participants to lead us to the sounds they would like to create postcards of. Indoors and outdoors. In public and hidden places: in houses or down by the canal; on the Bow Heritage Trail and on the No. 8 Bus route. The sharing of local sound knowledge and experience - more intimate than the Bow bells.

We will also have a market stall at the Roman Road Revel on Sunday 15, where visitors will be able to make their own 20 sec. sound postcards of the immediate environment / their interaction with & ideas about that environment / sounds made using objects available at the Revel, or using things that people have on them, or the physical structure of the stall itself.

Wednesday 11 August
291 Gallery, London

Off kilter pop songs from recorder, melodica and pocket-keyboard toting, ex Vic 20 multi-instrumentalist Piney Gir. Improv from Grace & Delete, coupling circuit bent keyboard and tinnitus analyser with bass clarinet. Electro-acoustic music under the name sAnso-xtro. Sound artist Jeff Cloke using a microphone and delays to explore and manipulate the sounds created in the large hall. Plus alternative dj sets and video projections

Saturday 14 August
Notting Hill Arts Club, London

Simon Bookish and Motormark play a pleasant afternoon event, with expensive cocktails and excellent drum-machine/shouting-type music from recent DHR sign-ees Motormark, also filming a DVD of the occasion. Electro-acoustic karaoke from Simon Bookish

Saturday 14 August
Barfly, Glasgow

With Romvelope, Ommm, DJ 100,000,000, Atom Truck, Germlin and Grnr.

Thursday 19 August
Acid On Sea
London Bridge

Line up; Luke Vibert, Plaid, Ceephax Acid Krew, DJ Rephlex Records, DJ Townsend Vs DJ Thoresen

Warp, Rephlex and WIOH invite you aboard The Dutch Master for a nautical 303-soaked adventure downstream and back again along the river Thames. Leaving at 9pm from London Bridge Pier we head downriver, around the Woolwich Flood Barrier and back again for 5 hours of mayhem aboard our 3-decked craft, enjoying drinks on the poop deck and the riverside sights along the way.

Friday 20 August
Mira Calix’s‘3 Comissions’ Album Launch Party
Haywood Gallery, London

Joining Mira Calix at the Hayward will be Andrea Parker, Plaid DJS and Mark Broom. The evening will include the performance of two contrasting versions of ‘NuNu’, her ground breaking interplay between human and insect worlds, recorded at the Royal Festival Hall last year.

Wednesday 25 August
Wrong Music
Volks Tavern, Brighton

With Aural Addiction, Shitmat, Hardoff, DJ 100,000,000

Sunday 29 August and Sunday 5 September
Optophonic Lunaphone - A performance by Brian Duffy
Mac Outdoor Arena, Cannon Hill Park, Birmingham

Conceived by Birmingham artist Brian Duffy, Optophonic Lunaphone is a performance which takes place at night.  An ensemble, comprising one conductor and two operators, will slowly explore and reveal the celestial soundscape in a unique collaboration between the Lunaphone, the conductor, the operators and the earth’s atmosphere.

Saturday 4 September
Digitonal + Support
Spitz, London

Fresh from playing in one of the headline slots at The Big Chill, Digitonal return to London for a live show in anticipation of the release of their new EP "The Centre Cannot Hold" in September, featuring singer Kirsty Hawkshaw - famous for providing the vocals on Orbital's seminal "Halcyon & On & On"

Support comes from the Rephlex camp with a live performance from Aleksi Perala (also known as Astrobotnia, and Ovuca) and the Rephlex DJ's, plus live electro & breaks Kansas City Prophets, from Keith Tenniswood's Control Tower imprint.

Saturday 18 September
Sonic Arts Discussion Meeting
Leeds Metropolitan University, Leeds

An informal discussion forum for composers/sonic artists creating electroacoustic music. Present your own music or simply come along to listen and discuss ideas. Everyone welcome, regardless of background or level of experience.

A range of equipment is available - including a small diffusion system – it may be possible to provide other equipment on prior request. Some details as to equipment can be found on our new website along with pictures from the last event, location map etc.

If you are interested in presenting your work or taking part in discussions, please contact before September 1st as we need to know numbers.

If you haven't checked SoundscapeFM out yet, now is the time to do it!  The radio brodcast and webstream will only be up until 14 August. Of course, the website and sound archive will be up for a lot longer, and we hope to do more live broadcasts and projects with the site and archive:

The turnout for the SoundscapeFM project was more than just a little impressive. In about a week, over 170 field recordings from 46 different artists were uploaded, mixed, broadcast and streamed! From our tiny little half-watt transmitter, we were actually able to cover a good section of the [admittedly small] city of Stralsund. Just about every day during that week, I had requests for logins by people who had heard about the project and wanted to contribute. The website is crammed full of sounds from just about every corner of the world, and a simple browse through these sounds will show a huge array of styles and approaches to the art of phonography.

Labculture Symposium (Bridport) 9-12 September 2004
Labculture is an excellent opportunity to see new work, meet artists and to network with a wide variety of promoters and practitioners. A key feature of the programme will be the 'black box' featuring new experimental audio works by up to 15 artists made during LabCulture Residencies.

The symposium includes professional development, good practice and funding seminars by invited keynote speakers including artists Tahera Aziz and Karen Wallis.

The Symposium has an affordable £12.50 registration fee. For further information email

What Does Bow Sound Like?
An invitation to take part in the Bow Festival 2004 : Creating Sound Postcards from Bow.

What does Bow sound like to you? Are there sounds you hear every day that you love or hate? Want to discover new sounds? Join a group of sound artists on an exploratory walk around Bow, making and sending short sound recording 'postcards' to each other.

We will collect sounds everywhere we find them: known noises; tiny secret sounds; the beautiful and the irritating; indoors or outdoors; public or hidden. Then, using local wireless internet technology, we will put these sounds online and send them to other sonic explorers out and about in Bow. You don't need any sound recording or computer experience, we will help with using the equipment.

Artists Melanie Clifford & Rob Grant will be running sound-gathering walks around E3, between Saturday 7 and Wednesday 11 August.

The sound postcard records will then be part of an exhibition in the bell tower of St. Paul's on St. Stephen's Rd, Bow, E3 on Friday 13 & Sunday 15 August. They will also be made into mini CDs, which you can take away & post to friends or family anywhere in the world.

'Sound Postcards from Bow' is FREE to anyone living or working in the Bow area - but we won't be checking passports, so any connection with, or love of Bow will qualify you. Places are limited, so book now.

If you would like to take part, email: or phone 020 8809 1612 or 07743 486937

Marketing/practitioner required to join "Concept" on a freelance basis. Concept specialise in all things Audio related from Talking Literature to Sound Environments and Oral History.

For further information email

PRS Foundation Live Connections 04
Deadline for applications Thursday 12 August 2020

The PRS Foundation (PRSF), the UK’s largest funder for new music of any genre, is maintaining its reputation for breaking new ground, by extending its support for pioneering electronic music through its unique Live Connections scheme.

Live Connections is the UK’s only funding scheme specifically aimed at live electronic music of any genre and targets UK-based writers of electronic/dance music. The scheme, now in its fourth year, was devised to get writers out of the studio and into the public arena, to give more people the chance to experience new electronic music.

The PRS Foundation will make 10 awards of up to £2,500 to dance music creators for a
one-off performance of their work, either as a live PA as part of a club night or as a stand-alone event.

This year, the PRS Foundation is particularly looking to support music creators who are writing innovative electronic music, which is imaginatively presented and which has the capacity to draw new audiences. An advisory panel of electronic/dance music specialists selected by PRSF will consider all applications and will listen to an example of the music creator’s work.

Application forms and guidelines for Live Connections can be downloaded from

BBC Radio Drama Composer Bursary 2005
Job Ref: 75042
Deadline for applications Tuesday 31 August 2020

The BBC Radio Drama Department in London, Birmingham and Manchester produces 400 hours of drama and readings a year for Radio 4, Radio 3, Radio 5, BBC7 and The World Service. Over 20 Producers work alongside Broadcast Assistants, a Development Team and support staff. The work covers a huge range of genres, styles and content. We thrive on the challenge of seeking new ways to develop the soundscapes of our programmes and on new opportunities of increasing the diversity of our considerable audience.

This scheme allows a Composer-in-Residence to work part-time in the department during 2005. We have in recent years had three writers in residence and, much on the same pattern, we are now looking forward to working alongside someone who can stimulate us by looking at our work, our ideas and our work processes from a "sound" perspective. This twelve-month bursary will run from January 2005 - December 2005 and the Bursary Award is for £10,000 paid in instalments through the year. The bursary is open to composers who are fairly new to the medium of radio drama. We are looking for someone who has some professional experience in composing for film, TV, theatre or for the music industry in general, so you'll have had one or two commissions already but will have achieved some progress in another area of composition or sound design. Further you'll have a sound grasp of the dramatic art form and how music can compliment and at times drive the drama itself. We regret that the bursary is not open to those currently studying in full-time education. The composer-in-residence schedule would be flexible but would average out at no less than two days per week in the Department. The successful candidate would be attached to a mentor producer and also to a number of drama projects during the year. However, we envisage there to be considerable freedom around this to follow up other ideas and engage in the life and creativity of a busy and productive department.

To apply to for this scheme please submit an application on line as well as sending us a short demo CD of your compositions, indicating the reference number 75042, to the following address: BBC Recruitment Response Team PO Box 48305 London W12 6YE

Applications and CD's will be received up until Tuesday 31 August. If you are shortlisted, you will hear from, us in week commencing 18 October. You will be sent two radio drama productions to critique and asked to provide a short composition to accompany a passage from a projected radio production. Interviews will take place week beginning 8 November.

Deadline 1 September 2020

Soundtoys has secured a series of exhibitions for interactive audio visual art and net art for later in the year. These venues include The Watershed Media Centre in Bristol and Dana Centre London.

A cd is planned to be produced (subject to funding) representing audio visual art and media 1998-2004 so please send in your work.

We are looking for contributions of audio visual interactive works, net art, music and art software, generative music, interactive environments, essays. Work will be featured on the website and selected works made into offline presentations at selected galleries.

We are seeking new work for the 2004 series of events and for the website.

1. Internet. New online audio visual experiences and interfaces. Works for the website. We are interested audio visual work by artists using the internet as a medium using internet friendly programming technologies e.g. shockwave, flash, vrml, java etc. So send in via email.

2. Installations. If you make interactive installations send in 400 words about the work and four images of the work. i.e. responsive environments, soundspaces, new interfaces navigation control, new displays.

3. Software. Artists and musicians software. This year we are particularly interested in applications by artists who make their own software.

If you work in any of the areas above we would like to hear from you. Either you could make something special or send in previous work that would be featured on the site and at galleries.

Urban Symphony Workshop Leaders
Deadline for applications is Thursday 23 September 2020
Are you a musician who has some experience of leading music workshops? Would you like to extend your skills by participating in a Workshop Leader Mentoring Scheme with the Royal Philharmonic Orchestra?

The RPO Community and Education Department is looking for musicians to work alongside RPO musicians and young people (aged 11-18) developing their leadership and musical skills on a diverse range of projects including many musical styles. Successful applicants will participate in a range of workshops and performances, receive regular feedback and support from the RPO as well as fees and expenses.

For further information and details on how to apply email or call 020 7608 8827.

UK MicroFest 1 'Window' Sessions
Friday18 and Saturday 19 March 2021
St. Cyprian's Church, London
Deadline for submissions Friday 3 December 2020

Microtonal Projects Ltd would like to propose a call for 'window' sessions which are designed to demonstrate the range and depth of microtonal interest in the UK. Microtonal Projects would be delighted to hear from staff or students interested to present a snapshot of their work within the following guidelines:

Window sessions can last for between 5 and 15 minutes and could present any of the following, although other ideas are welcome:

1) a microtonal work or group of works given by the composer (using live, or CD examples)
2) research into microtonality (intonation, tuning systems etc.)
3) microtonal performance possibilities (research-based or demonstration)
4) new instruments (ideas for ... , prototypes, performances on ... )
5) microtonal electro-acoustic works (extracts or whole pieces)

There will be a slot of up to an hour and a half devoted to the window sessions depending on response.  These will be introduced by Patrick Ozzard-Low.  The purpose of the window sessions will be to offer an opportunity to present work and ideas which are fresh and relevant to microtonality.  They are intended to be snapshots only: there will be other opportunities to present more extended work on the Microtonal Projects website or at future Microtonal Projects events.  Proposals (stating a suggested, accurate time allocation), biographies, CDs (if relevant) should be sent to: Microtonal Projects Ltd, 75 Canbury Avenue, Kingston upon Thames, Surrey KT2 6JR or emailed to:

Middlesex University, White Hart Lane, London N17 8HR
Deadline for proposals Friday 10 September 2020

We would like to invite contributions to NTN#2 on the following topics from noisicians of every stripe, whether they be noise makers, noise enthusiasts, or inventive but unsanctioned noise theorists:

Is noise accountable to the terms of a pre-constituted theoretical discourse on aesthetics?

Must its "radicality" be contrived from within the bounds of that self-same discourse?

Does noise fail in its imputed assault on traditional aesthetics and musicology? What are the methodological and aesthetic specifics of "japnoise" as a genre? Is there something like a common "modus operandi" running through the works of Hijokaidan, Masonna, Hanatarash, CCCC, Merzbow, etc.? What makes it matter?

What constellates noise and the so-called "industrial" and/or "power electronics" scene from the 1980s (e.g. Whitehouse, Ramleh, M.B., New Blockaders, P16.D4, Etant Donnee, Pacific 231, etc.)?

What transformed historical and technological conditions produce the so-called "noise aesthetic"?  What is the noisician's dependence, if any, on the novel possibilities of sonic production offered by the digital revolution?

Is noise enjoyed?  Who enjoys it?  Are noisicians perverted abnegators who, due to emotional deficit, are unable to experience the full affect of soul/pop/classical music?  

Is there an interface between the praxis of noise and sampling / turntablism?  How is it informed by montage, collage and/or cut-up?  What does noise offer materialist historiography?

This list of topics is not intended to be exhaustive so please feel free to contact us if you would like to address a topic not listed above. Audiovisual equipment will be available and we actively encourage presentations in which examples of the noise being discussed can be played for the audience. But bear in mind that each presentation should last no longer than 30 minutes.

Please send your proposals/abstracts to and

visionofsound, the digital arts label and website founded and created by visionhead Simon Vincent is looking for digital works (electroacoustic/video or both) for release on cd and web display. Originally formed in 1996, receiving critical praise from The Wire, Jazzwise, Time Out to name a few, visionofsound will officially relaunched in October 2004.

Please call Simon Vincent on 07960 011 276 or email for further details.

High Desert Test Sites, Joshua Tree, California
Deadline Friday10 September 2004

Audio art pieces are being accepted for a pirate radio project at High Desert Test Sites in Joshua Tree, California. The radio station will be broadcast across part of a valley outside of Joshua Tree for two days in late October. The radio station content will consist of a compilation of works submitted by other artists, community groups, audiophiles, etc. Listeners will tune in on their car radios, and at a listening station/art installation in the desert landscape.

Keep in mind that the radio station will be experienced in the context of the High Desert landscape, which you can check out at Submissions can be fiction, music, oral history, soundscapes, soundtracks, etc. There is no time limit, but we may choose to use segments of longer submissions (in consultation with the artist or producer). Short submissions are also acceptable.

Send a CD and a short statement to Christy Gast 983A Dean St. Brooklyn, NY 11238 or email a link and short statement to

‘ForgottenFairytales’ some thoughts on a CD box set of interviews compiled by Iain Armstrong with illustrations by Jayne West.

Produced by The Northamptonshire Lesbian, Gay and Bisexual Alliance
Also see

The box’ design is very ‘70s, brown with some stripes on one side and a carefully chosen font brightly displaying the word forgotten in white, whilst the letters spelling fairytales are a brown that grows faint and disappears in the darker background. This is an emphasis that is not sustained by the voices recorded on the CDs. And I have no idea why the authors insist on creating such a victimized position. The voices are strong and clear, telling you their narrative of life, love and choices that some people have to make and others never need to think about, without lamenting their position. I am not particularly interested in the content of the interviews however. I don’t think that its focus on the issues of the Gay Community of Northamptonshire is what makes the work interesting in relation to art. Rather, I am focusing on the voices as sonic material and the status of this collection of interviews as an archive.

To foreground the issue of gayness, when considered from an artistic point of view, marginalises the work in a swamp of socially engaged practices struggling to apologize for a sense of artistic purposelessness and enjoyment via the righteousness of a civic cause. Such a strategy renders the communication of any cause secondary to the overall description of social worthiness. What jumps out, if I insist on an issue based reading, is the mental image of a funding application, and all of a sudden I know why forgotten takes such a central place.

By contrast the status of this work as a sound work or in relation to the conception of an archive, invites ambiguity and produces a multiplicity of perceptions. The first provokes the engagement in the work as fairytales beyond the obvious pun: narrations that are particular but temporal. Not fixed in time or place but inviting listening and re-narrating in the listener’s own voice - contingent and fluid. The second considers the box set as an object, as a collection of sounds and images to be preserved but never listened to. Maybe here lies a new sense of forgotten, without the self-depreciation.  

Box sets overcome the flimsiness of a single CD. They have more stature and authority, a sense of worth beyond the sonic content. I have several box sets at home that I have never listened to. Their function and purpose on my bookshelf is a totally different one. Box sets are things I want to own, thinking their presence on my shelves might reflect on my sincerity about sound work and music. It is a display of abundance, a collecting and hording of sonic material rather than an invitation to listen. This is the work as archive, where the sleeve notes and the design determine its appreciation. The details of the content are secondary to this overall sense of the set as a material document.

This element was drawn out and amplified by the installation of this work as part of the SAN SoundCircus at De Montfort University in Leicester in June. A bright, hi-tech lecture theatre formed the context of the work. A computer was set up so you could choose individual interviews and photographic illustrations of the interviewees hung on a panelled wall in a row. The Institutional framework emphasised the scientific aspect of the work: the status of the work as document becomes foregrounded. The voices do not so much produce as relay an experience. They are heard as a means of transmission rather than as sonic material. In this context the actual artwork is the ‘laboratory of interaction’ set up by the curators. The criticality of this installation lies in the aesthetisation of the scientific discourse and its methods of investigation and documentation.

By contrast, once the CDs had arrived at my home and I pondered and handled their little brown box, things became a bit more personal.

The first CD, Prelude, greeted me with a mix of voices. This is a composition of human sounds: spaces are moving in and out of focus, time becomes a matter of perception. These undulating rhythms reveal and disguise different characters. I hear what intrigues me and what speaks to me rather than what is being said. I am building my own narratives from between the stories of these disembodied voices. In this engagement the work becomes about me and my sexuality. I bounce off from the documented experiences into my own history. This is where ‘ForgottenFairytales’ works as a sonic piece. Here its criticality is tied up with the treatment of the material and how it opens itself to a generative perception by the listener.

This one CD is the sound work. The rest of the collection is what constitutes the archive, communicating a concern for research and a sense of scientific (or social) responsibility, not however contributing to my experience of the sonic composition.

The remainder of the CDs in the set are the footage from which the Prelude is edited. A good ten hours of recorded interviews. They are very staged, the questions are removed but artificially signalled by their forced introductions at the beginning of each answer. It feels too tidy and scripted, breathless and heavy in its lack of human noises, stutters, and pauses. The bodies disappear in a carefully observed rigidity of convention. This over-preparedness and tight editing disables a visceral engagement with the speakers. They ‘other’ themselves from my speaking experience, and not in terms of their sexuality.

As a sonic artwork the first CD intrigues and provokes a visceral engagement, as an archival artwork the installation/box set convinces, as a whole the work is interesting only if the listener understands this relationship.

Review by Salome Voegelin
Salome Voegelin is London based artist and writer.

Holzkopf "This CD is not an Apology"
Dainty Deathy Records

This second album from the Canadian Holzkopf is titled 'This CD is an apology'. It comes with a press release that states "There is no intention to harm here. No intention to devastate. Just a through the lines warning that you may not understand, nor enjoy what lies within this package." Not a good way to start; the tone of condescension does nothing to impress a first time reader. It also seems to be laying down a challenge for the listener: this is unexplored territory; can you make your way through?

The first track opens into guitar fuzz, a heavily scuffed drone dropping away to reveal a concrete world of tangible, fricative textures. Wind noises rise and synthesized loops rotate as the sound world stabilizes. There is much to explore in these opening breaths.

There follows a rude interruption. Overdriven big beat muscles in and mutates through shredded acid techno and breakbeat before completely disintegrating. The energy of these moves retains an unpredictability that defines much of the rest of the album.

We are led into a fusion of aged, limping drums and violent short circuits. The ground Holzkopf takes us into recalls Techno Animal and although it stands on its own two feet, it lacks the urgency and weight to pack the hardest punch.

Heading off into post rock territories, nasal drones and violin loops wrap around appetising down-tempo drums. The often aggressive intensity of the preceding material wanes for the duration of this middle section and we are offered a well deserved rest. The string theme continues with 'World War Two Blues', a lo-fi passage of twanging, pizzicato jangle with a home-spun, folksy air to it.

Another rude interruption. A harsh wave of feedback sweeps in, heavily reminiscent of the recent work of experimental guitarist Kevin Drumm. As a general rule the art of noise is control, something which Drumm has mastered. However, Holzkopf's feedback adventures lack shape and direction and are often somewhat lumpy.

From here on in it seems we are heading down hill. Incongruous jumps between styles and sound worlds become irritating, and unimaginatively deployed jungle breaks signal an unfortunate move into mediocrity. All poise and polish dissipates. Generic ambient pads and uninspired breakbeats are inexplicably dropped between more sections of tedious noise. There is a real sense that Holzkopf has simply thrown together his remaining output with no thought for how they will stand as part of a whole. No new ground is covered in the duration of the last seven tracks, and they serve only to denigrate the listener's overall impression of the album to an almost fatal degree. The clumsiness and inanity of the closing tracks hammer the final nail in the coffin. It now seems that the question should have been 'is it worth making your way through?'

Review by Helena Gough
Helena Gough is a Birmingham based sound artist.