"… this is quite a jolting departure from Davis's customary leftfield but
rustic fare as exhibited on the likes of Curling Pond Woods.This is what
you might call garden shed musique concrète, homebuilt but highly effective.
The opening track, "Scatter" is tentative, mostly couched in nocturnal silence,
with sporadic electricity flashing like badger's eyes caught in the headlights.
"Gather", however, which takes up side two, is far more eventul, like intense wartime activity viewed throught nightvision goggles, strafing, crackling,
piping, flaring up, plunging catastrophically, recrudescing – just the thing
to frighten small children and animals."
(the wire 06/2005 / david stubbs)

"this record was created entirely from a casio sk1 drum machine sample.
this sample was then processed in real-time using a custom-built max/msp
sound environment. 'scatter' was created by subtracting (or scattering) these sounds, processing them further and adding silences until i achieved a
desired lesser density. 'gather' was created by adding (or gathering) these
sounds, processing them further and overlaying them until i achieved a
desired greater density. all of these sounds were then carefully arranged
with soundedit16 to create the finished pieces. 'two skylines' was created
by taking the processed source sample and processing it further with
sonicworx powerbundle. then the waveforms of the left and the right
channels were rectified in such a way as to resemble two city skylines.
these pieces were created between the late winter of 2001 and the early
fall of 2002. this record is dedicated to john cage."
(greg davis)

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artist: janek schaefer
title: early electronic compositions
cat #: tons016
format: 7"
price: Euro 6.00

"both of these compositions were produced while i was working freelance
for de rijke marsh morgan architects in london. one afternoon i had a
message to call a guy named 'jet mistry' who worked for the lift company
thyssen. he was a chatty guy so we talked about names etc, and i decided to
dedicate a track to his as i liked it so much. this was produced using an
'rs integrator' analogue patch bay synthesizer that i'd bought around then
with the profits of working a 96 hours week on a new london park competition.
another project we produced at the practice was a quirky, live, stop frame
short video showcasing various projects for a touring architecture exhibition.
i was asked to edit and produce the sound.
side b is a 7" mix with the spoken sections removed."
(janek schaefer)

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artist: donna summer
title: fluxus, inc.
cat #: tons015
format: 7"
price: Euro 6.00

"this two-track 7”, brought to us by tonschacht is like a small dish of
calamata olives. it isn’t going to fill you up, but it tastes very good and
will have you licking your fingers after a few minutes. let the hipsters
keep their trucker caps and electroclash, "fluxus, inc." is a flexing of the
donna summer school of discocrash. bass jabs and horn stabs syncopate
against the blisters of boiling breaks as a dancefloor doubledare for the
moshers, idm headnodders, and innocent bystanders alike.
to newcomers this track might take a few listens to fully digest, while those
who have seen mr. summer perform live know this song would easily fit
anywhere in his energizing and entertaining sets. it isn’t quite the same
without witnessing the full production of polyester suits and victory
laps taken through the audience, but it is appetizing enough to have you
dropping the needle back a few times before auditioning the flip side.

“awkward song about love” caresses the palette nicely by balancing the
salt of side A with a little sugar on side B. jason continues with his brand of
unapologetic sample exploitation, though this time around he gets some
acoustic assistance from guitarist david grubbs. Seemingly modeled after an epic 70’s rock ballad, it reminds me of a summer beach party thrown by
macho men with mullets and the women who love them. the tunes are
pouring out of an iroc-z parked nearby and there is plenty of coors light
on hand … ok – maybe not all of you grew up in iowa, but I did."
(Igloo Magazine)

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artist: fibo-trespo / anders gjerde
title: a hoax. a scam. a phony
cat #: tons014
format: 7"
price: Euro 6.00

"Side one: Someone peels a two note riff out of an organ. Someone else
plonks away on a xylophone, a disconnected stream of notes. There’s some
slightly itchy synth-violin. And then these hilarious blats of BBC Radiophonic
Workshop electronics. It’s all over in about six minutes. Nice. Sets the mood.
Side two: This is your more expected Fibo-trespo improv-splatter.
These guys are part of that wave of Norwegian noisic goodness that
Bruce Russell and co. were bigging up a couple of years back. One half of
Fibo-trespo is the ‘infamous’ Kjetil D Brandsdal. You might know him from
that heavy Noxagt trio who put out a record on Load (they must be hip,
L ightning Bolt are on that label too.) Kjetil put out some delightful solo
discs about seven years ago. His second self-released vinyl thing was
something else entirely. I haven’t really kept up since. Kjetil, you out there?

Sindre Bjerga is the other half of Fibo-Trespo. He’s a sweet guy, runs the
Gold Soundz label. I got a tasty little package from the guy a while back with
tonnes of Fibo-Trespo discs in it. I like their approach: it’s totally unassuming
and organic, heavy when it needs to be, light when it can, they smear their
instruments over the walls and floor and then mess with the guts when
no-one’s looking. Like much of the Norway noise stuff it has a distinctive
spirit and mood that’s peculiar to their corner of the world. Unlike someof
the Norway stuff, however, it’s actually damn good. One of the Fibo-Trespo
CDRs comes in a detourned Iron Maiden CD cover and if that ain’t good
I don’t know what is.
Anders Gjerde runs the Humbug label who has also documented some
great sounds on CDR. Including the most recent Continental Fruit title.
What he’s doing here, who knows?"
(worlds of possibility / jonathon dale)

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artist: jazzkammer
title: knitter
cat #: tons013
format: 7"
price: Euro 6.00

knitter is the first 7" from this norwegian duo - guitarist, improviser and
composer john hegre (also in der brief) and lasse marhaug, one of the most
productive musicians in the international noise/experimental underground
of the last 10 years (also in del and owner of the jazzassin records label) –
this time with alexander rishaug who already participated on the last
jazzkammer–longplayer "pancakes" (smalltown supersound).
this swedish label also released rolex, a remix-album of their first two cds
with contributions by merzbow, thurston moore, pimmon and mayn others. jazzkammer combines timbre sound textures, drones, chrashing noise,
digitalia, field recordings, turntables, static electric atmospheres, samplers
sine waves and location recordings, all used in free improvisation to create
fragmented, eclectic and relentless yet focused and massive collages.
a-side might remind you of mixture between the hi-speed electronics of
belgian irregularities scratch pet land and the microsound-turntablism like
otomo yoshihide or martin ttreault, b-sia begins like pop defined by the
tochnit aleph crew, but slowly between layers of distortions there rise sweet,
fenneszian melody as if they were re-arranged by rudolf e.ber.

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artist: keith fullerton whitman
title: live (at the tremont theater)
cat #: tons012
format: 7"
price: Euro 6.00

"Whitman's new single runs live guitar through some effects and a Mac
with beautiful results. There are tactile similarities to some of Jim O'Rourke's
recent work, but the way that Whitman allows the quiet waver of strings to congeal into something far more menacing and far less obviously human,
is definitely neat."
(the wire 11/2002 / byron coley)

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artist: oren ambarchi
title: der kleine koenig
cat #: tons011
format: 7"
price: Euro 6.00

"the record is a set of two instrumental pieces that sound as though they
were created via electric guitar, then allowed to expand and slither through
the air more like his electronic stuff (albeit a beatless version). abstract,
amped frequencies, a bit like marco fusinato's work in places, this is a fine
addition to the tonschacht catalogue."
(the wire 01/2003 / byron coley)

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artist: vibracathedral orchestra
title: the one you call the ghost train
cat #: tons010
format: 7"
price: Euro 6.00
(out of print)

side a: the one you call the ghost train (4:02)
side b: oblong two (5:08)

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artist: rosy parlane
title: the peetoon files
cat #: tons009
format: 7"
price: Euro 6.00

"rosy parlane's the peetoom files is yet another good record from this new
zealand expatriate, a former drumming member of thela, pit viper and so
many more. like all his solo work, this record is electronic rather than
percussive, but the a side has a certain clatter to its construction.
closer to recent work, the flip is akin to a drift study of clown structure - bumping into a big, spongy nose, squeaking, then backing into the current
with a surge of electricity."
(the wire 04/2000)

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artist: vote robot
title: h.waiian blue
cat #: tons008
format: 7"
price: Euro 6.00

"there are echoes of other, lousier artists to be heard in the way that
Vote Robot allows the gentle crotch of their electronic pressure to collapse
against the event horizon, but the results here sound more unplanned,
improvised and genuinely fudged than most of Vote Robot contemporaries.
maybe their claim not to use computers just makes me biased towards them.
whatever the reason, the pieces here walk like cake around the edges of
my consciousness, crumbling into the sweetest crumbs imaginable.
and that makes for fine snacking."
(the wire 08/2001 / byron coley)

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artist: hrvatski
title: räume
cat #: tons007
format: 7"
price: Euro 6.00
(out of print)

side a: bad raum (4:20)
side b: eintrag raum (1:08) / kochen raum (3:20)

all source audio captured during march of 2000 in the reckankomplex
through one oktava mk-319 microphone and a folio notepad mixer live
to sound designer ii by keith fullerton whitman.
edited in soundedit 16 v.ii then sequenced in vision dsp with a casio cz-1
controlling an akai s3000xl sampler mices to a sony dtc-a6 dat machine
through an allen & heath wzl16:2 mixer and a digitech dsp16 reverb unit
by hrvatski between august 12th and 21st of 2000.
no dsp was used asidefrom normalization and the stock akai filtering and
playback algorithms.
dedicated to gordon mumma.

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artist: gate
title: 3M
cat #: tons006
format: 7"
price: Euro 6.00

side a: 3M (I) (3:55)
side b: 3M (II) (4:15)

michael morley: programming and samples
robbie yeats: synthesizers and tone generator

recorded 9 july 2000 at the driving range, mixed 10 august 2000 at
my pit p.c

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artist: joseph suchy
title: tau
cat #: tons005
format: 7"
price: Euro 6.00

"coming across like some three-headed chimera offspring of cock E.S.P.,
loren mazzacane connors and yngwie malmsteen, suchy dives and thunders
in a sea of hiss and overloaded digital and analogue processing, then all of a
sudden you'll hear a high speed metal run, and you'll pump your fist in the
air, just in time for a cascade of tumultous feedback to bop your noggin.
a long and lonesome blues melody will carry you along for a while, and then
the cycle starts again. and again."
(deadangel, issue 44, 01/2001)

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artist: ashtray navigations
title: end-of-the-pier vault
cat #: tons004
format: 7"
price: Euro 6.00

"Ah, this guy. Fair at the top of the summit vis. English underground noise/
collage aesthetix, Ashtray Navigations is the solo outfit of young Phil Todd,
our man from Leeds. Having released several of his records I can safely
proclaim that this man is a genius of the kind not found kicking a dustbin
around street corners these days. His work sounds like little sculptures of
found sound and objet trouve, kept together by plaster and tape, all frayed
at the edges, warped and buckled under heat, and then re-shaped into these
fantastically alien configurations. Five tracks on The “End-of-the-Pier” Vault,
the first four fly by in about two minutes, the final track a seven-minute
bleeder for overloaded guitars, tape scraps, altogether an unholy din the
likes of which we here at Worlds of Possibility whole- heartedly approve of.
In other words, a real keeper. It might be up there with his Four Raga Moods
and Tristes Tropiques albums, and the split 7”with Gang Wizard, as his best
work. Phil’s output is a whole other world unto itself, a crazed maze of
outsider invention, and if you’ve ever stumbled across records or tapes by
Dogliveroil, A Warm Palindrome, The Hotel Left Accidentally Unpainted,
Inca Eyeball, Dead Man’s Gravel, Jarvis/Joincey/Todd, To Suckle the Pups,
Target Shoppers, Anna Planeta, Blackthorne Stick, or countless others
(really there’s too many), you’ve encountered the Todd-ster.
Plus there’s his on-again, off-again record label Betley Welcomes Careful
Drivers. The guy’s also a totally lovely chap who is almost single–handedly
responsible for getting me into American underground film, so I owe him
big-time. Check it out man, he named one of his albums after the original
title for Joseph Cornell’s Rose Hobart."
(worlds of possibility / jonathon dale)

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artist: a.f.r.i. studios
title: room service (part 1–3)
cat #: tons003
format: 7"
price: Euro 6.00

side a: part 1 (5:27)
side b: part 2 (3:23) / part 3 (2:41)

recorded summer-autumn 1999
by a.f. krause using the variable architecture synthesis technology for
a.f.r.i. studios.

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artist: the new peculiars
title: dance music 2000
cat #: tons002
format: 7"
price: Euro 6.00

side a: dance music 2000 (2:30) / landing party (1:46)
side b: the crucial failure of authenticity (3:45)

david borecky - violin, voice
gloria borecky - keyboard, voice
karla borecky - drums, electronics
scott foust - guitar, electronics

recorded august 1998 at swill radio studios, johnstown pa.
a juan m. juan production for the anti-naturals.

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artist: minit
title: bootleg
cat #: tons001
format: 7"
price: Euro 6.00
(out of print)

side a: bootleg (6:00)
recorded in sidney, late 1999
composed entirely from field recordings of natural phenomena on
and around Alpsee, Bavaria.
originally inspired by and concieved for chicks on speed, munich.

side b: four (5:33)
recorded live to boombox one afternoon, sidney, late 1997
first released on limited edition polycarbonate, snawklor records 1998

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