News from the Sonic Arts Network


The Agents of Impurity - a Night of Sound, Poetry and Sound Poetry

Firstly, a thankyou to all those who attended Sunday's Agents of Impurity night at the Museum of Garden History. The night was a huge success, with the legendary Henri Chopin delivering an inspirational performance, followed by contemporary sound poets Sue Tompkins and Caroline Bergvall.

With the event broadcast live on Resonance FM, Kenneth Goldsmith, founder of and curator of 'The Agents of Impurity' CD, performed several exceptional and energetic pieces. The evening was completed with the London debut of Birmingham’s Frank Cougar, an inhabitant of a surreal and enigmatic world between music, spoken word and cabaret.

More media and details will be on the SAN wesbite shortly.

SAN Calls for Work

This week the Sonic Arts Network puts out two calls for work. Firstly we require Works, Papers and Commission Proposals for the SAN Exposition 'EXPO 966'. It will be an opportunity to showcase the work of some of the UK's best practioners. In collaboration with The University of Hull, Scarborough Campus, the event will take place in a variety of venues and spaces in Scarborough, embracing the unique culture of the town. More information regarding the festival will be available soon on the SAN website. For more information see the 'calls' section here...

The second call is for an event unequal in stature - Hi[gh]BroW, an international tape music composition competition. In collaboration with the Big Ears radio show on Resonance FM, the Sonic Arts Network offers the lavish prize of £10 plus extensive broadcast opportunities. We are seeking works of originality, quality and depth. More...



Ongoing - 6 November
Radio 101 by Zoe Irvine
(Sound Installation and Performance)
BCA Gallery, Bedford

Visitors are being invited to embark on a sonic journey and revisit history through an art installation created by sound artist Zoe Irvine for the Radio 101 exhibition opening at BCA Gallery on Saturday 18 September. Radio 101 is an extraordinary exhibition that retraces the stories surrounding the R101 airship and its fatal voyage to Karachi through a sequence of sound recordings.

Irvine is a sound artist and audio producer whose work often responds to a particular historic episode. Like the events she has explored in previous work, the R101 serves as a real and imaginative trigger for her sonic archaeology, a story for her to unravel with various strands to explore.

To commemorate the anniversary of the R101 crash BCA Gallery will be hosting a live radio broadcast as part of the Radio 101 exhibition. Radio 101 FM will air from 6.24pm the precise time that the R101 left Cardington and end at 2.04am the same time that the airship crashed. Visitors are invited to attend the broadcast at BCA Gallery or contribute their thoughts and memories via a live phone in.

Prior to the broadcast visitors to the exhibition will be able to get involved with the various audio work in preparation for the broadcast.

Monday 1 November
Kettle's Yard, Cambridge

Christian Wolff is one of the most influential composers living and working in America today. A pioneer of experimental music, he will perform with the leading British avant-garde ensemble, Apartment House.

Works in the programme include the UK premiere of two of Wolff's works, 'Incidental Music' and 'Septet'. Wolff and Apartment House will also perform the piece he wrote for them 'Apartment House Exercise'. Alongside his own compositions will be Charles Ives' work 'Three Page Sonata' and various piano pieces by Erik Satie. Both composers had an oblique influence on Wolff's work.

There will be a pre-concert talk at 6.30pm by the composer. Briefly taught many years ago by John Cage, he is a frequent collaborator with Merce Cunningham. Christian Wolff continues to set a striking musical example by his radical pursuit of experimentation and change.

Saturday 30 October - Sunday 31 October
Reid Concert Hall, Edinburgh
A range of events covering a weekend including work by American composer Joseph Anderson, who presents his complete 'Epiphanie Sequence' and the Scottish group 'InvisiblE ARTs' present new sonic art by Robert Dow, Pete Stollery, Alistair MacDonald and Pippa Murphy.

On Sunday, student composers present sonic art from around the world, including Jonty Harrison's 'Klang', Adrian Moore's 'Study in Ink' and Pete Stollery's 'Shortstuff'.

Ongoing - 7 November
Boyle Family London Sound Study
(online exhibition)
the centre of attention
In October 2002 the Boyle Family began a sound study project asking visitors to the Construction art space, to throw darts at an unseen target. The target was an unordered nine-sheet map of greater london, extending beyond the M25. 79 sites were pinpointed by the darts and each visitor was asked to choose a random time.

The Boyle Family then went to each site and recorded one minute of sound at the given time. These sounds are available to download. A body of work that further challenges the formalities of production, distribution and consumption of art.

21 October - 14 November
The Future Is Not What It Used To Be
HTTP, London

HTTP (House of Technologically Termed Praxis) is London's first dedicated gallery for networked, net based, new media & sound art. Opened to provide a public space for experimental approaches to exhibiting relational, technologically termed art.

Their first exhibition presents Mika Taanila's film 'The Future Is Not What It Used To Be', a documentary about Erkki Kurenniemi, 'an unsung pioneer of electronic art', and Kurenniemi's DIMI-A, 'a digital musical instrument with associative memory, an early computer-based sampler'. Kurenniemi, collecting everything around him, records his thoughts, observations, objects and images constantly, with manic precision, with the ultimate goal of merging man and machine - reconstructing the human soul.

26 October
The Future of Sound
(conference and performance)
The Royal Institute, London
The Illustrious Company and the RI host a 'stimulating and imaginative' event discussing the future of sound in artistic, scientific and commercial fields. Speakers and performers include American sound installation artist, Charlie Morrow, Scanner, Bafta nominated Anna Hill and the creator of SurroundAV, Paul Gillieerson. Also appearing is Flinton Chalk, Brian Barritt and Paul Devereux.

With the emphasis on creative, collaborative opportunities there will be a chance to hear examples of the artists' work, including a demonstration of the world's first 3D surround sound technology, Surround AV. Audiences are promised interactive pieces and an opportunity to 'quiz the experts'.

Workshop: "Emergent Content Creation Using Simple Genetic Algorithms'
STEIM, Amsterdam - 21-24 October 2004. Instructor: Kim Cascone

For this workshop you will need to bring:
- a laptop (XP, Mac OSX, or Linux)
- an Ethernet cable or Wi-Fi card
- audio software you like to work with
- a web browser
- a chat client
- willingness to work in a group structure
- your imagination and enthusiasm

In this workshop each participant acts as a active node in a creative network using
technologies such as TWiki and chat. Using software you normally use we will embark on an experiment to breed a piece of audio art. We will evolve a sound piece starting with a library of sound files provided by the microsound list and then will mutate and cross-breed them until a work of sonic art emerges. The final piece will then be performed for the public by the group at the end of the workshop.

Online Registration:

Music Technician - The University of Aberdeen

The University of Aberdeen, Scotland is looking for a Music Technician (50% part-time) to support the teaching of Music and Music Education within the School and also to support staff and students working in its rapidly expanding electroacoustic music and sonic art research areas.

You should have a degree in music, music technology or related discipline, or significant experience in the field. A thorough knowledge of Macintosh based computer systems is essential as well as experience and understanding of professional audio compositional demands and hard-disk based recording systems. As the post will require some heavy lifting and you should be physically fit. On occasions there may be a requirement to work outside normal hours but this will be negotiable. A full driving licence is required.

Informal enquiries about the post can be made to Dr Pete Stollery, Director of Electroacoustic Music Studios, telephone (01224) 274601 or e-mail:

Further details of the post are available here...


17-20 JUNE 2005 - In conjunction with University of Hull, Scarborough Campus
Deadline for proposals: 31 January 2021

Expo 966 is an opportunity to showcase the work of the best UK practitioners, to meet, listen and respond. After the success of last year's highly eclectic event in Leicester the focus now shifts northward with a packed weekend of SAN curated action hosted in association with The University of Hull, Scarborough Campus. This weekend of performance, exhibition and presentation will take place across a variety of public venues and spaces in Scarborough including concert halls, bars and nightclubs, each reflecting the unique culture of this northern seaside town. The weekend aims to highlight the broadest possible range of approaches and thinking that surrounds the sonic arts. We welcome submissions of all kinds.

There is no charge for the submission or acceptance of work, and indeed entry to the weekend continues to be free to all members of Sonic Arts Network with most events free to all members of the public. We do ask that selected artists attend the event.

Call for Works, Papers and Commission Proposals


Submissions are sought in all forms of sonic art including real-time interactive works, improvisation with technology, experimental electronica, instrumental/electroacoustic mixes, acousmatic music, installations, environmental sound work, performances, internet-based creative work, sound and image works and cross-arts work. Though we welcome submissions of all kinds we are particularly keen to receive submissions that reflect in some way the cultural context of Scarborough.

Works must have been created after January 2004.

Some resources are limited and, for example performers must be supplied by the submitting artists, however a range of performance and presentation spaces will be available at The Spa Centre on the Scarborough seafront (including a large auditorium with open stage and a generous bar space suitable for less formal concert presentation) and the Campus Centre, University of Hull Scarborough Campus  (including two performance spaces, a bar space equipped with PA system and video projection and multiple rooms of various sizes for the presentation of installation work). There is also scope for outdoor performance and we will be staging late bar gigs on every night of the conference including a Friday evening opening gig at the Ocean Room at the Spa Complex on the Scarborough seafront and an exclusive electro-cabaret event for late Saturday night in a renowned local nightclub! 

Available equipment will include: a multi-channel sound diffusion system catering for projection of stereo and multi-channel works (ADAT or hard disk) and smaller, adaptable stereo systems suitable for installation work, Macintosh G5 (dual processing) and G4 computers (OSX and OS9.2) with Digi001, 002 and MOTU 828 Firewire (mark one) audio interfaces. Video projection facilities are also available.

Research Papers

Aurality and Identity

Aurality and Identity is the theme of the final day of the conference (Monday 20 JUNE 2020) that will be devoted to research presentations relating to the ever-increasing presence, and wider understanding of, the social implications of sound. This is to include the use of sound in projects and works that address concepts of cultural, social and political identities as well as the role played by aurality in learning and communication with regard to social development and education theory.  Presentations may take the form of written papers or discussions of creative, research or practical work (including work in progress). Presenters should plan for 20 minutes presentation time and a further 10 minutes discussion time will be allowed.

Submission Guidelines

Submissions of papers and works should include:

_ Title of work/paper

_ Name of author(s)

_ Contact details (name, address, telephone/fax, email, URL)

_ Brief bio (150 words max.)

_ Description of artistic concept (250 words max.)/Abstract summary of paper (500 words max.)

_ For artistic submissions, the role of technology in realisation of work (100 words max.)

_ Technical resources required for presentation (specifying those that can be supplied by the artist in the case     of artistic submissions)

_ For artistic submissions an audio/video example of work (CD or link to www site)

*Please note, we require the written information to be emailed to Dan Stone at and clearly labeled hardcopy of examples of work to be sent to:

Expo 966
Sonic Arts Network
The Jerwood Space
171 Union St
United Kingdom

Deadline for proposals: 31 January 2021


In addition to our call for existing works, we are once again pleased to offer two commission opportunities for the creation of new works to be premiered at the Conference. Proposals for work are invited from British artists or artists living and working in the UK. A sum of £1000 is offered for the creation, production and realisation of new work.

Place, Environment, Location, Identity

Works that address these themes and specifically the context of Scarborough, it’s landscape, environment, history, culture and people are particularly encouraged.

Commission proposals should include:

_ Title of work

_ Your name

_ Your contact details (name, address, telephone/fax, email, URL)

_ A brief biography (150 words max.)

_ Audio/video example of your previous work (or link to www site)

_ A Description of the artistic concept to be commissioned (500 words max.)

_ The technical resources required for the presentation (specifying those which will be supplied by the artist)

_ A simple budget specifying your fee, the production and material costs, presentation/ performance costs, other costs (and any other sources of funding where required)

*Please note, we require the written information to be emailed to and clearly labeled hardcopy examples of work to be sent to:

Expo 966 Commissions
Sonic Arts Network
The Jerwood Space
171 Union St
United Kingdom

Commission proposals should be clearly labeled and reach the Sonic Arts Network office by January 31 2005

The time-scale for creation and completion of work is 1 March 2021 to 1 June 2020 and proposals should demonstrate a strategy/timetable for successful completion within this period.

Sonic Arts Network's Hi[gh]BroW call
An International Tape Music Composition Competition

As part of it’s extensive and acclaimed commissioning policy Sonic Arts Network is once again flying the flag for that much maligned and slighted phenomenon – the international tape music composition competition.

Hi[gh]BroW seeks original works of quality and genius. Certain rigorous conditions must be met for works to be considered to be of suitable quality, depth and humanity to be considered for the grand prize:

Duration: no longer than 10 seconds

Text: All works must use the set text “Big Ears from Sonic Arts Network”. Any other material included is at the composer’s discretion.

The winning work will be extensively broadcast during Sonic Arts Network’s prestigious Big Ears show on Resonance FM (Every Monday. 5pm-6.30pm. 104.4FM. Web streaming at

In addition the triumphant composer will be honoured in a live telephone ceremony held during the show. A generous prize of 10 British pounds will also be awarded to the victorious artist.

Works must be emailed in mp3 format to with the name, address and contact phone number of the composer included. The subject title should read Hi[gh]BroW.

The deadline for submissions is the 6 December 2020 with the announcement of the jury decision being made live on air on the 13 December during the Big Ears show.

The best entries will be made available on a “no expense spared” burn to order CDR…


We eagerly anticipate your artistic responses.

The Sonic Arts Network Team

Fourteenth Annual Florida Electroacoustic Music Festival – Call for Works, Presentations and Papers
7-9 April 2005, University of Florida, United States of America
Deadline for receipt of submitted materials: Friday 15 October 2020

After thirteen years of service, the Florida Electroacoustic Music Festival enters its 14th year of bringing together an international rostrum of today's electroacoustic composers to present their cutting-edge music.

Each call is very specific and you are advised to read the full submission details at:

The Public Building West Bromwich Call
Deadline: 29 October 2020

The Public building, happening in West Bromwich in late 2005, will be the largest community arts development in Europe. Designed by Alsop Architects, the building will house an innovative new gallery which takes the form of a spiraling walkway descending through the building with attached pod-like exhibiting spaces. The gallery aims to offer each visitor a sense of the creative process through active engagement using interactive and digital artworks. 

Submissions are invited for the following:

The Drawers – a wall of curiosity - a flexible structure housing various interface and display devices in a number of different sizes. 

The Wunderkammern – a beautiful, intriguing or playful non-technological exhibit that will reflect the ethos of the experience within a unique display structure.

The Sound Corridor – a 20m long, 3D digital sound environment for visitors to walk through and interact with.

All commissions are open to individuals or groups. The Sound Corridor is an exclusive opportunity for artists and musicians working within the West Midlands.

For a brief and more information, please contact Jo Ford: Email: Tel: 0121 525 6861.

The Taste of TG: A Beginner's Guide to the music of Throbbing Gristle - Throbbing Gristle

Throbbing Gristle are one of the 20th centuries most important and enigmatic musical groups.  Famous for being branded "wreckers of civilisation" by Tory MP Nicholas Fairbairn, exhibiting pornography in the ICA and inventing the term Industrial music.  TG's appeal stems as much from their innovative DIY approach to promotion as their music. Forming their own label Industrial Records, TG over saw all the elements of production developing a highly refined aesthetic which included utilitarian graphics, transgressive performances and mock military uniforms.  Formed in 1975 by Genesis P-Orridge and Cosey Fanni Tutti, TG rose out of the ashes of Hull based performance art group COUM transmissions.  TG's line up was completed with the addition of electronic music boffin  & circuit bending pioneer Chris Carter, and Peter 'Sleazy' Christopherson, graphic designer with influential design studio Hipgnosis, ( best known for designing record sleeves for Pink Floyd ).  TG split up in 1981, although they have since reformed for a number or reunion shows.

This compilation, dubbed as a slightly patronising "Beginners guide to TG" contains a good cross-section of their best work, all recently remastered by Chris Carter.  Most of TG's music was recorded live during improvised sessions and concerts, and as a result the listening experience can be a little drawn out, having said that though the recordings do contain a real sense of atmosphere.  TG's music doesn't sound particularly Industrial either, which is odd considering that they apparently created the genre.  Their sound is raw & organic, more like Martin Rev's Suicide. TG thankfully avoid many the cheesy clichés we now associate with Industrial music.  However, in today’s climate TG's use of shock tactics can appear a little dated, and although their use of noise was innovative, it does not stand up particularly well to the test of time, especially when you compare it to works like Lou Reed's "Metal machine music" & early Merzbow, both of which were coming out at roughly the same time.  The strange song-based disco style tracks "united" and "hot on the heels of love" provide possibly the most interesting moments on this record, as well as clearly demonstrating TG's sense of humour, they also connect most clearly with what is going on now.

All the TG members have gone on to do interesting work in there own right.  In addition to his later musical project Psychick TV, P-Orridge was also responsible for forming the rather silly pseudo religious cult 'Temple ov Psychick Youth'.  And more recently embarking on an Orlan style body modification project in which he and his wife are making themselves look more like each other with the aid of plastic surgery, ( he's just had breast implants inserted ).  Cosy Fanni Tutti's ground breaking  performance work utilising pornography was well ahead of it's time, together with her partner Chris Carter they have released numerous records under the monickers CHRIS & COSEY & CTI and have been found more recently performing under the name CARTER TUTTI.  Peter Christopherson went on to become a member of both PSYCHIC TV and electronica duo COIL, creating scary soundtracks for films like Hellraiser, he now lives in Thailand.

Reviewed Bjorn Hatleskog

Bjorn Hatleskog runs London based retarded experimental electronica label ADAADAT, in addition to recording his own music under the monikers ROMVELOPE & KEMA KEUR.'

Geography of Nowhere


The premise of this project, which takes the form of a 20-track audio CD and lo-fi brochure, is a fictitious body of research (conducted by the artist Justin Wiggan and his alter-ego Dr. Lipton) into the possibility of electronically transmitting information to the subconscious mind.

Operating from the bogus Morrisoto Memory Service Unit in New York, the fallacious year of research experiments involved 13 volunteers sleeping in special units on ‘meloinic sheets’, connected in turn to a mercury bath and wired up to some hi-tech IT hardware running the suspiciously entitled ‘prantic sleep software’. A series of simple words such as ‘hat’, ‘museum’, and ‘puppet’ were then transmitted by satellite to the sleeping units, after which the volunteers were interviewed to determine whether their dreams had been influenced by the words.

The brochure offers us a pseudo-scientific report to document the research experiment, replete with photographs, diagrams and charts. The audio CD presents us with compositions that sit somewhere between science-fiction and what one might imagine cutting edge medical/scientific equipment to sound like. Each track is titled with a day, date and time, presumably corresponding to different stages and key moments during the experiments. The audio tracks are effectively minimalist, abstract soundscapes, though the accompanying text encourages us to assign more literal, ‘figurative’ significance to the sounds, and hence the temptation is to try to match soft, low syncopated pairings of notes to the heartbeats of the volunteers, shrill, wavering cycles to the satellite signals, and warm, undulating humming sounds to the sleeping units, and so on. While making such connections is stimulating, it is ultimately a futile undertaking, and it does not appear to have been Wiggan’s intention to devise a literal correlation between the narrative and the sounds. After a few tracks, it becomes more interesting to consider the sounds as aural representations of the cognitive and semantic processes occurring in the neural networks of the minds of the volunteers — information flying around different parts of the brain, sifting, sorting and forming into complex chemical configurations. As such, the clinical, futuristic, electronic sounds of the experiment seem to take on the role of a metaphor for the workings of the brain.

Conceiving Wiggan’s compositions in this way frees the listener to make less literal associations between the sounds and what they may represent. The accompanying brochure provides sufficient information to structure and condition our responses to the sounds, but with enough ambiguity to allow us the freedom to imagine and interpret as we wish — and, indeed, this offers us space to enjoy them as abstract sounds and music per se. As a result, the compositions seem more dramatic, more evocative, more enigmatic. We are left wondering what goes on in our subconscious minds, how words and thoughts are relayed via the tiniest of chemical reactions and signals to create meaning, trigger memories, evoke sensations, and form our understanding of the world.

That Wiggan’s experiment uses satellite technology to transmit the words to the participants suggests the analogy between contemporary communications technology and the cognitive activity of the human mind; how do these information systems that process and transfer data relate? The interface between the digital and the neural is explored in Wiggan’s project with both a genuine sincerity and his tongue firmly in his cheek. While the project goes to considerable lengths to convince us that it could be a bona-fide research topic, and the soundtrack has some degree of authenticity (alongside its poetic appeal), the accompanying lo-fi brochure reassures us that this project is to be treated seriously and light-heartedly in equal measure.

We address the project with caution because our trust in it is called into question from the start. And this is what makes the project particularly interesting — the relationship between text and sound, between the abstract and the figurative, between fact and fiction. The narrative framework, with its aspirations towards real scientific research but its simultaneous parody of such research, both prepares and disconcerts our reactions to the audio compositions, putting us in a state of mind more akin to reading a novel or watching a movie than listening to minimalist, abstract electronica. We have to try to figure out what’s going on, to piece together the information we have with what it is we are listening to. As such, we perhaps approach the sound with a more inquisitive, active engagement than we might otherwise have done; having created a fictional context, Wiggan sets us up in a different mode of reception, pushing us to question and explore the compositions precisely at the point of disjunction between the dubious authenticity of the narrative and the ambiguities inherent in interpreting the sounds. Thus, the artist has conditioned our more usual listening experiences, priming us to respond differently. Indeed, as well as experimenting with the minds of the fictional volunteers, maybe Wiggan’s project is as much an experiment on us.

Reviewed by Matt Price

Matt Price is a contemporary art critic and curator from Birmingham. He is currently based in Milan where he works as an editor for Flash Art.


Completely in the Dark!: Tales of Mystery and Suspense - Judson Fountain

It is hard to come to terms with the fact that so very little of the recorded sound that we listen to will be truly extraordinary. Where can one find the incomprehensible, the impossible or the shockingly bizarre aural experience today? Have the maps of the new worlds of sound that Varèse dreamed of been charted? There seems to be so much blatantly fraudulent sound in the world today. Human beings make it. They make it for other human beings. It is made to entertain, brainwash, comfort, annoy, inform or just pass the time of day. Mostly though it just bores people shitless.

I can say with a fair amount of confidence, that Judson Fountain never lost any sleep over any of these issues. Nevertheless the small body of work that he created between 1969 to 1974, a choice selection of which is documented on this wonderful CD, amounts to one of the most truly mind boggling achievements in the history of fixed medium sound.

Let me explain. Fountain, a Canadian national, was born in 1952 and as a child he developed a bizarre obsession with 30s and 40s pulp suspense radio shows such as Inner Sanctum, Lights Out! and The Shadow. As he grew up he developed vocal performance personas based on archetypal characters from these shows; Pop Serriano the aged gangland boss, Lo Sein the oriental vampire and Tommy Gun Molly (no further explanation needed) are some of the fine examples that appear on this disc. By the age of 17 Judson, compelled by a desire to single-handedly revive the art which he so loved, was scripting, directing, producing and staring in his own DIY radio dramas, many of which feature his speciality character, an evil old hag with a voice like a bag of cats being tossed into a cauldron of boiling oil. These pieces were pressed onto LP's in limited, self financed runs of about 200 disks. The jackets were hand made, with low quality photocopies pasted on the otherwise blank cardboard sleeves. Outsider radio drama was born.

Much like his celebrated silver screen equivalent, Ed Wood, Jr., Fountain’s productions are constructed of wafer thin plots that at times resemble the narrative naivety of children’s play. They incorporate amazingly kitsch special effects from the Elektra Sound Effects Library, which are applied with such abruption at times as to put the director up for consideration as the world’s first outsider turntablist. The plays are populated by one-dimensional characters drawn with the simple strokes typical of a pre-school art class student and furnished with ham acting that results in some of the most insane ethnic accents I have ever delighted in hearing. The “Scottish” tones of Captain Hale, “that most famous and feared of all detectives”, are a personal favourite. Fountain tackles many of the roles himself, and dramas like The Castle ofLo Sein border on worrying explorations of the schizoid polarisation of personality as he negotiates, with not inconsiderable virtuosity, rapid-fire dialogues between three characters at once at some moments during the dialogue.

I have listened to this CD every night for the last week and I think it unlikely that I will discover any other recordings that will give me so much pleasure for the next 12 months at least. The wonderful photos and texts that are contained in the accompanying material and the titles of the pieces themselves, including Garbage Can from Thailand, My Next Door Neighbour Is a Wicked Witch and the classic Granny, Sing No More! are the icing on the cake. For fans of vocal performance in extremis this last piece is a real treat with Fountain managing to produce a singing voice so hideous that it wouldn’t be out of place in the theatre of cruelty of Antonin Artaud’s radiophonic classic Pour En Finir Avec Le Judgment de Dieu. Like Artaud’s piece, the atavistic beauty of Judson Fountain’s work is a world apart from from much of the buttock-clenchingly embarrassing and boring nonsense that passed for “quality drama” on national radio here in the UK.

The CD is released on the not for profit Innova label and, as Judson Fountain’s whereabouts are unknown at the moment, any monies raised from this CD will be held in escrow for him. The release of this historic document has been a labour of love for the producers and long term “Fountainheads” Irwin Chusid and Barbara Economon who received no advances and waived all royalties. What else do you need to know? Buy the CD. Read the notes. “Turn out all your lights – and be completely in the dark!”

Reviewed by Richard Whitelaw