For albums, the date of release is indicated.

1. Delay Canyon (3:33, 1999.01, Rusted Sequences CDR, Echo Canyon vol.1 compilation CDR)

The track that started it all. I was a big Sonic Youth fan at the time, and was involved in a Sonic Youth-related email list. A compilation CDR with contributions from the participants was going to be made. It eventually surfaced, under the title "Re: Echo Canyon", in enough copies for those who contributed. So here Lee Ranaldo (of Sonic Youth) says "OK James, do it!", starting me off on my experimental music "career". Built from radio passed through a digital delay pedal, and another track of guitar + delay, and another Lee Ranaldo voice sample or two.

2. Monoverlode (7:47, 1999.02, Rusted Sequences CDR)

Guitar plugged into a desktop computer with real-time effects (lots of echo & reverb).

3. Rumble-ooze (3:12, 1999.02, Rusted Sequences CDR)

Guitar plugged into computer with real-time effects (lots of echo & reverb).

4. Loose Wub (5:38, 1999.02, Rusted Sequences CDR)

Guitar plugged into computer with real-time effects (lots of echo & reverb).

5. Cries & Missy Screamers (4:48, 1999.02, Rusted Sequences CDR)

Guitar plugged into computer with real-time effects (lots of echo & reverb).

6. Vokul-Upe (2:35, 1999.02, Rusted Sequences CDR)

Me vocalising into a mic plugged into the computer with real-time effects (lots of echo & reverb, some distortion). Some post-editing. Originally intended to loop seamlessly.

7. CWAK-FM (Whacked Radio) (4:07, 1999.02, Rusted Sequences CDR)

Radio through a digital delay pedal, or into the computer with real-time effects.

8. What Beat? (1:32, 1999.02, Rusted Sequences CDR)

Guitar plugged into computer with real-time effects (lots of echo & reverb).

9. Grand Delay Canyon (13:13, 1999.03, Rusted Sequences CDR)

A sequel to Delay Canyon.

10. Hangar Blues (1:07, 1999.03, Rusted Sequences CDR)

Guitar plugged into computer w/ real-time effects (reverb, pitch shifting).

11. Music On Wires (19:55, 1999.03, Rusted Sequences CDR)

Guitar plugged into computer w/ real-time effects (echo, reverb, distortion), tweaked interactively + my voice, microphone, picks, spoon, bowl, bits of metal, keyboard, a few WAV files (Matt: "is it recording?", hawk, wires...), computer keyboard, paper, whistling, blowing, pencil, marker, and quite a few wires (if not connected, at least strewn all over the floor). Some post-editing. The original ending got trashed because I ran out of disk space whilst recording it, so this one was tacked on.

12. Loose Loops I (1:40, 1999.03, Rusted Sequences CDR)

Just a little experiment at building a piece entirely out of about 10 approx. 1-second loops.

13. Loose Loops II (1:12, 1999.03, Rusted Sequences CDR)

Another track built just with short loops.

14. Loose Loops III (1:36, 1999.03, Rusted Sequences CDR)

Yet another track built just with short loops.

15. Zuperfuss (2:20, 1999.02)

Guitar plugged into computer w/ real-time effects (a ridiculous amount of distortion, maybe some reverb). This was just a joking-around thing that I found whilst making the Five Years compilation, never an official piece, really.

16. 5 Second Sustain (2:15, 1999.05, Cellular/Molecular CDR)

Created using the first 5 seconds of a Caspar Brötzmann Massaker tune called 'The Tribe' off the "Home" CD, and I'm using the pause and back buttons on my CD player, and of course piping this through the digital delay pedal. So basically it's the same sustained note, sustained & layered.

17. A Tinkling Note A (vinyl) (4:16, 1999.05, Cellular/Molecular CDR)

A looped sample of guitar, slowly revealed using a software FFT filter EQ manipulated live. Then I spent at least 8 hours looking closely at every part of the WAV file, manually removing the clicks caused by the glitches of my slow computer as I changed parameters. Hence the "vinyl" in the title. And since the FFT filter started off only letting through the frequencies corresponding to the note A, there's the other part of the title.

18. Vegetable Sounds (1:18, 1999.05, Cellular/Molecular CDR)

A looped sample of my friend Matt Bain's voice, manipulated via FFT filter software.

19. Earplugs (6:16, 1999.05, Cellular/Molecular CDR)

An extreme-noise piece built from a looped sample of Steve Reich's voice from the "City Life" documentary by Mannfred Waffender. With live manipulation of a software parametric equaliser. With apologies to Mr. Reich.

20. Spin Machine (20:12, 1999.05, Cellular/Molecular CDR)

I taped a contact mic to my bicycle's rear fork, ran it through a digital delay pedal I had taped to the handlebars, and into a portable cassette recorder. Then I cycled around Mile End, manipulating the delay as I went.

21. Heaviside Up (10:18, 1999.06, Aerial Ambience CDR)

AM radio plugged into a computer with real-time effects (echo, reverb), played by moving it around, picking up interference generated by the computer screen & mouse & stuff. The heaviside layer of earth's atmosphere is important in the transmission of radio waves.

22. Receptive, Deceptive (5:01, 1999.06, Aerial Ambience CDR)

AM radio plugged into a computer with real-time effects (echo, reverb), played by moving it around, picking up interference generated by the computer screen & mouse & stuff.

23. 'Tag Muller (7:18, 1999.06, Aerial Ambience CDR)

AM radio plugged into a computer with real-time effects (echo, reverb), played by moving it around, picking up interference generated by the computer screen & mouse & stuff. The title is from a bit that sounds like "'tag Muller", as in the abbreviated German phrase "Guten tag, Herr Muller", and is a reference to the EVP (Electronic Voice Phenomena) CD crap I heard played on CKUT FM around that time.

24. Maintain Radio Silence Noise (7:37, 1999.06, Aerial Ambience CDR)

AM radio plugged into a computer with real-time effects (echo, reverb), played by moving it around, picking up interference generated by the computer screen & mouse & stuff. Title is supposed to have "Maintain Radio Silence", but where "Silence" is crossed out and replaced by "Noise".

25. Station2Station (7:37, 1999.06, Aerial Ambience CDR)

AM radio plugged into a computer with real-time effects (echo, reverb), played by moving it around, picking up interference generated by the computer screen & mouse & stuff.

26. Ghost Helicopter (7:05, 1999.06, Aerial Ambience CDR)

AM radio plugged into a computer with real-time effects (echo, reverb), played by moving it around, picking up interference generated by the computer screen & mouse & stuff. Lots of post-editing to get an effect of helicopters and battle.

27. Wireless Intentions (23:56, 1999.06, Aerial Ambience CDR)

AM radio + electromagnetic interference from computer monitor, mouse, etc through delay pedal. Recorded with a mono mic directly from the (guitar) amp.

28. Fed Off The Floor (7:07, 1999.12)

Contact mic, floor, AM radio(s), various effects pedals, stereoization via selective frequency band processing (secret technique).

29. Raygunner (4:58, 1999.12)

A studio improvisation using radio and effects.

On CDR, this was a continuous piece with no breaks, just index points indicating the different sections. AM radio through a parametric equaliser.

30. p.eq.ep. Part I section 1 (18:07, 2000.01, p.eq.ep. CDR)

31. p.eq.ep. Part I section 2 (14:24, 2000.01, p.eq.ep. CDR)

32. p.eq.ep. Part I section 3 (6:56, 2000.01, p.eq.ep. CDR)

33. p.eq.ep. Part II (11:35, 2000.01, p.eq.ep. CDR)

34. Grinch Meat (2:56, 2000.01)

Cheap computer speakers & mic feedback (run live through some real-time effects on the computer). For the beats, I literally recorded myself banging on my desk, then looped a section of it.

35. Wood Wriddling (2:36, 2000.02)

Contact mic, floor, feedback, effects pedals, field recordings (of my cat déCybèle), treatments via computer.

36. stupidpartysobored (1:19, 2000.03, hidden track on REC E.P. CDR)

A joke track, making fun of dance techno, using feedback I generated with a mic and a television, a software drum machine (tortured) and a sample of Alec Empire talking about the Berlin Love Parade (quoted from the movie Modulations).

37. I, Still (v.2) (6:23, 2000.03)

Built entirely of 2 samples of me doing fake throat-singing (with the aid of an octaver effect). I then generated copies of the samples at different speeds, and looped & made a montage. There is also a bit of recitation of some lines from the Sadhana Mahamudra by Chögyam Trungpa Rinpoche. Was originally intended to be about 12 minutes long, but I could never finish it. It was featured in a play by my friends at Dummies Theatre, and appeared much later on the Argentum CDR (2003).

38. Minimal Patches (5:00, 2000.04)

39. Minimal Patches Epilogue (0:35, 2000.04)

Studio improvisations using a patch cord and radio, and guitar for the epilogue.

40. Monoverloded (4:45, 2000.06, previous>>next mp3-release)

A reworked version of Monoverlode (originally on Rusted Sequences CDR): guitar + echo & delay effects via computer.

41. A Shimmering A (4:05, 2000.06, previous>>next mp3-release)

A reworked version of a A Tinkling Note A (vinyl) (originally on cellular/molecular CDR). Guitar sample + FFT processing.

42. Aeriala (5:17, 2000.06, previous>>next mp3-release)

Remix based on several bits of Aerial Ambience CDR. AM radios + interference + effects.

43. Spincycle (3:30, 2000.06, previous>>next mp3-release)

Reworked & shortened version of SpinMachine (originally on cellular/molecular CDR). Contact mic on a bicycle + live delay effects.

44. Waterous Life (4:48, 2000.06, previous>>next mp3-release)

A slightly reworked version of Aquatik Life (now lost). Built from loops generated by The vOICe program.

45. Wave-robot (2:39, 2000.06)

A studio improvisation using shortwave radio + effects.

46. 124 point 2 drone (4:40, 2000.07)

An improvisation using AudioMulch software, featuring 2 harmonic generators.

47. 20 & 77 Hertz March (6:08, 2000.07)

An improvisation using AudioMulch software featuring a test tone generator, a harmonic generator, and Risset tones.

48. Circuit Drones (3:46, 2000.07)

A studio improvisation using mainly overloaded flanger + effects.

49. Vinyl Drone (2:58, 2000.07)

A studio improvisation using turntable and effects.

50. VCR drone (3:18, 2000.07)

A studio improvisation using VCR and effects.

51. 2D 2-Step (6:07, 2000.07)

A studio improvisation using VCR and effects.

A television, a video camera, a bunch of effects pedals, performing video & audio feedback whilst manipulating the effects, recorded direct to tape. Some minor post-editing. There exists the video portion of this as well.

52. REC: (i) pulse (7:49, 2000.09, REC E.P. CDR)

53. REC: (ii) echo (9:02, 2000.09, REC E.P. CDR)

54. REC: (iii) haunt (9:57, 2000.09, REC E.P. CDR)

55. REC: (iv) recall (7:23, 2000.09, REC E.P. CDR)

56. Radio Collision (4:55, 2000.12, the freest of radicals 2CD on No Type)

Built from several samples of improvisations using radios and effects.

57. December (20:09, 2000.12)

Improvisation using radio + effects.

58. soloVCR (2:15, 2001.03)

Improvisation using a VCR and effects.

59. Radio Pulser (6:21, 2001.04)

Improvisation using radio(s) and effects.

60. Three Radios (16:36, 2001.04)

In the "skratch" radio style rather than drones, played on three radios:

am.sw.am series: Submitted to the "lowercase sound vol.2" compilation but not accepted (even though they had asked me to submit them something). More radio drones: 2 AM radios, 1 Short-Wave, recorded direct to tape.

61. am.sw.am.1 (5:13, 2001.05)

62. am.sw.am.2 (5:33, 2001.05)

63. am.sw.am.3 (5:51, 2001.05)

64. am.sw.am.4 (5:08, 2001.05)

65. am.sw.am.5 (5:27, 2001.05)

66. am.sw.am.6 (5:11, 2001.05)

67. ...und gefundenes Band (4:33, 2001.05)

Submitted to the "lowercase sound vol.2" compilation but not accepted. Later submitted to JTTP2003, didn't win, but is now archived on the CEC website . A lightly treated binaural field recording made on a magical and mild winter's night in Montreal later meets a heavily treated quarter-inch tape fragment found by the roadside.

mcp and tor series: Radio drones using live radios and CDs with a bank of radio samples I had prepared. Performed live for a friend, as a demo of what I had wanted to do for a concert in Toronto that I unfortunately could not make due to my grandfather passing away. It was to be an experiment in introducing some sort of beats into my usual drone stuff (but using abstract beat-like radio sounds, rather than drum samples).

68. mcp 0 (9:20, 2001.05)

69. mcp 1 (2:11, 2001.05)

70. mcp 2 (5:08, 2001.05)

71. mcp 3 (5:35, 2001.05)

72. mcp 4 (3:21, 2001.05)

73. tor 1 (5:08, 2001.05)

74. tor 2 (5:32, 2001.05)

75. This Is Radio Trash (3:31, 2001.05)

Noisy improvisation using radio(s) and effects.

76. Galactic Barrier (5:40, 2001.05)

Droney improvisation using radio(s) and effects. Title refers to an old (original) Star Trek episode wherein the edge of the galaxy has some strange effects.

77. radioluv-hélice713 (8:43, 2001.06)

Noisy-Droney improvisation using an AM radio and interference from a friend's iBook laptop.

78. radioluv-sleepdrone206 (5:55, 2001.06)

Droney improvisation using an AM radio and interference from a friend's iBook laptop.

Composed for the No Type sublabel label sine fiction series, whereby each release is inspired by a science fiction classic, in this case (vol. 3), John Brunner's 1975 novel, The Shockwave Rider. Quite a departure for me at the time, involving a ton of montage, layers of stuff, using samples of all sorts, worked a lot using a multitrack program.

Samples include: Korg ES-50 organ drones, processed field recording of bells, some strange noise my CD-ROM drive made when not plugged in, processed found-by-the-side-of-the-road 1/4inch tape, guitar, some recordings I made using a friend's (Michel Desrochers) Doepfer MS-404 analog synth using radio recordings I made as a trigger, AM radio, shortwave radio, failed CD-burner glitches, DTMF, my lovely friend Marie-Claude playing (circuit-bending) a little electronic singing birthday candle, and a stuttering effect only obtained because my computer was so slow!

79. intro (2:54, 2001.07, sine fiction vol. 3: the shockwave rider mp3-release)

80. Haflinger (5:21, 2001.07, sine fiction vol. 3: the shockwave rider mp3-release)

81. Kate (5:11, 2001.07, sine fiction vol. 3: the shockwave rider mp3-release)

82. Tarnover (6:07, 2001.07, sine fiction vol. 3: the shockwave rider mp3-release)

83. sleepdub (66:00, 2001.08)

Part of the "music to sleep by" series... long, monotonous stuff, suitable to go to sleep by. Made using AudioMulch software.

84. Radios par radio (50:00, 2001.11, radio piece)

Composed during a weeklong residence at the Avatar studios in Quebec City for the (then) monthly "Excavation Sonore" broadcast on CKIA FM. Built entirely from radio sounds and interference, using recordings gathered over the period of one year, in Montreal and Quebec City. A continuous piece with 3 movements, intending to show the different abstract sounds that can be captured by radio, ranging from harsh to beautiful. The full title is Radios par radio: rencontre et interférences entre Montréal et Québec; un pont de sons. Mastered by David Michaud.

85. Fréquensifflements (8:57, 2002.01)

Actual recording date unknown. Improvisation using shortwave radio and equalizer and effects (4.25 MHz band).

86. Tontonnom (3:07, 2002.03, Saccacomie 3"CDR)

A remix of the old Quebecois country&western tune Saccacomie by Rodrigue Frappier. Released on the Déluge label.  Artwork: cover.

87. Whirrdrone 1 (5:22, 2002.03)

88. Whirrdrone 2 (5:37, 2002.03)

Improvisations using an old dulcimer (or zither) and a handheld fan.

89. magnétOctobre (18:59, 2002.04, magnétOctobre 3"CDR)

Originally released on a 3" CDR, 2 copies, for a special friend for her birthday. An improvisation using a VCR and effects.

90. Coeliac-Sprue (3:29, 2002.04)

Composed for the "My Malady" compilation, but not accepted. CDX organ, treated field recordings of a canoe trip in the Adirondacks and a waterbunker in Quebec City.

Part of the "music to sleep by" series... long, monotonous stuff, suitable to go to sleep by. lungs is a (binaural) field recording of a "performance" I did at David Turgeon & Esther B.'s place using her turntable, which I prepared using one 33.3 LP and two 45s, and the needle placed precariously so. furrows and orbits are treatments thereof.

91. lungs (20:12, 2002.06, vinyl lung CDR)

92. furrows (20:12, 2002.06, vinyl lung CDR)

93. orbits (20:12, 2002.06, vinyl lung CDR)

94. ellipses... (111:28, 2002.06)

Private CDR release (well, an excerpt of 77 minutes). All this is is a slowed-down version of lungs. More music to sleep by.

95. vinyl lung (radio edit) (4:50, 2002.07)

A montage of the 3 lengthy pieces on the vinyl lung CDR.

96. Hot August Nights (Sleepy) (15:43, 2002.08)

97. Hot August Nights (Noisy) (23:32, 2002.08)

Inspired by my friend Magali Babin, after I helped her record a piece using fans, contact mics, a creaking floor and other stuff. It was a very hot & humid end of August, I prepared a fan with paper, springs, tape, contact mics, added a radio, and did these pieces, sitting on the floor.

98. Thai Hour (6:41, 2002.09)

99. Thai Hour (Slow) (13:22, 2002.09)

Treated binaural field recording of one of my favourite Asian grocery stores.

100. Radio Parasites (14:45, 2002.12)

101. Parasite Radios (10.11, 2002.12)

Solo improvisations recorded whilst practising for a Trio Saccacomie concert at Machines07 in Quebec City. Shortwave radio, AM radio, clock radio, telephone pickup, interference from a TV, effects pedals and EQ.

102. Plusieurs couches de bois et quelques morceaux de vélo (4:33, 2002.12, Sang9 CD)

Released on compilation CD on DAME2003 (ambiances magnétiques). A montage of various-length extracts of prepared guitar improvisations. Trivia: this version is 1 second longer than the one on the CD, since they needed to fade out the ending a bit for sequencing issues.

Wood & Wires CDR: prepared electric guitar with pickup and contact mic, running through a mixer and 3 simple effects (distortion, tremolo, digital delay) and EQ. Jar of Ghosts, Loeffelstreichen, Stretchsing and Skje are excerpts of a live performance during the Machines08 concert in Quebec City.

103. Spoonschlag (1:56, 2003.02, Wood & Wires CDR)

104. Tymplate (2:54, 2003.02, Wood & Wires CDR)

105. Flutters (2:24,2003.02, Wood & Wires CDR)

106. Rusty Chains (3:17, 2003.02, Wood & Wires CDR)

107. Spoonring (1:47, 2003.02, Wood & Wires CDR)

108. Doigt de digit (2:25, 2003.02, Wood & Wires CDR)

109. Chitinous Surfaces (3:55, 22003.02, Wood & Wires CDR)

110. Aluminum Fuzz (1:34, 2003.02, Wood & Wires CDR)

111. Flickers I (4:14, 2003.02, Wood & Wires CDR)

112. Flickers II (3:43, 2003.02, Wood & Wires CDR)

113. Transmission dust (2:37, 2003.02, Wood & Wires CDR)

114. Chimewand (1:59, 2003.02, Wood & Wires CDR)

115. Jar of Ghosts (2:33, 2003.02, Wood & Wires CDR)

116. Loeffelstreichen (1:47, 2003.02, Wood & Wires CDR)

117. Stretchsing (3:41, 2003.02, Wood & Wires CDR)

118. Skje (5:42, 2003.02, Wood & Wires CDR)

Wood & Wires outtakes. Not because they are bad, but I wanted to keep the album short, and some of these were a tiny bit similar to what made the cut.

119. Plik und Plok (2:11, 2003.02)

120. Alumspun (2:14, 2003.02)

121. Drumplate (1:33, 2003.02)

122. Self-Replicating (6:40, 2003.08)

Repeated arpeggio pattern played on electric guitar through effects and a self-referential mixer manipulated interactively & simultaneously.

123. Around SwirlS Around (3:02, 2003.08)

Prepared electric guitar through effects and a self-referential mixer manipulated interactively & simultaneously.

124. Pulse Reverbsal (5:26, 2003.10)

Short-wave radio + effects (distortion, delay, reverb, self-referential mixer). Somehow the mixer plugged into itself created a beat sound.

125. monoma (5:48, 2003.10)

Short-wave radio + effects (distortion, delay, reverb, self-referential mixer). Somehow the mixer plugged into itself created a beat sound.

126. A Spoon of Starlight (10:44, 2003.10)

Prepared electric guitar with pickup and contact mic, running through simple effects (distortion, digital delay, reverb) and a mixer.

127. ...Then To The Stars (6:43, 2003.10)

Prepared electric guitar with pickup and contact mic, running through simple effects (distortion, digital delay, reverb) and a (self-referential) mixer.

128. - silver -- cloud -- 0 -- 9 - (40:00, 2003.11)

A mix of sunroof!'s track "silver zero" from the cloudz album. I wanted that track to be longer, so made my own version using montage and a few simple tricks. Private pressing.

129. SilverFast (18:12, 2003.12, Argentum CDR)

A montage using as sound source a recording of a 4-minute improv I did on Roger's (of Le Fly Pan Am, et sans) Farfisa Fast4 electronic organ, treated in simple ways (mainly speed reduction with no pitch change). Me reading some sound-related quotes (heavily vocoded & unintelligible) from the Vigyan Bhairav Tantra.

130. SilverStair (To Nowhere) (35:27, 2003.12, Argentum CDR)

A montage using as sound source extracts of the prepared guitar pieces Skje, and a bit of Jar of Ghosts, treated similarly as for SilverFast (but with less reverb).

131. Variations Upon A Theme From A Symphony (32:35, 2003.??)

A dense mix of Ornette Coleman's "Theme From A Symphony" from the Dancing In Your Head album. Private pressing.

132. FloodWood (12:35, 2004.01, unreleased)

A montage using treated phonographies of a canoe trip in the Adirondacks, layers of acoustic guitar, marbles, and some yowling.

sunn0)))'s album "white1" redone with treatments and sonic arrangements. private pressing.

133. (Play On) My Wall (27:54, 2004.04)

134. Ragnarøk Dub (17:04, 2004.04)

135. Hornspeared (17:55, 2004.04)

136. Time-Lapse Phonography Experiment 1(60:00, 2004.04, unreleased)

An attempt at applying time-lapse photography to audio. Every day for a month, I recorded 1 minute in the morning and 1 minute in the evening. Then I wrote a program to break it down into half-second pieces and rearrange them so that the 30 days go by every 15 seconds. The problem is that in audio, the frame is not as obvious as in video, and so it sounds like a bunch of semi-random soundbites that loop for a bit then disappear.

137. SquelchTrout (2:24, 2004.05, unreleased)

Actually, the recording date is unknown, and the method of producing the piece is foggy. It seems to be an improvisation done with a voice mic plugged into a mixer with some effects and mixer feedback stuff.

138. A Folk Piece (3:11, 2004.05)

Made for Esther's "field recording listening exhibit". Field recording made using a homemade binaural microphone of the waterfall/fountain in the Centre de Commerce Mondial à Montréal. The recording was mixed as-is with a treated (EQ'd) version of itself. Named a 'folk' piece because water is such a classic sound in the genre.

139. Samedi matin avec un chat (12:57, 2004.07, unreleased)

Thrown together quickly. A phonography of my morning ritual making breakfast and feeding my cat déCybèle... EQ'd and then mixed with some random bits that I had lying around of acoustic guitar + effects. After I did this piece, I thought of doing a concept album wherein I'd use phonographies of the same ritual for a week, i.e. a piece for Monday, a piece for Tuesday..., each time EQ'd differently and mixed with other bits of acoustic guitar or electronics or organ or whatever. I did make the recordings for the rest of the week, each morning, but I doubt the project will ever materialise beyond this piece.

140. VOSTOK (18:22, 2003.05, space/frogs CDR)

141. MOLNIYA (10:53, 2003.05, space/frogs CDR)

improvisations using toy drum-machine, voice, loads of effects and a (self-referential) mixer.

142. frogs & bows, ribbits & ribbons (21:15, 2004.07, space/frogs CDR)

an improvisation using a prepared zither, bowed cymbal and music-stand whilst a prepared CDR of frog sounds plays randomly

143. frogs in fog (16:03, 2004.07, space/frogs CDR)

an improvisation using a toy organ whilst a prepared CDR of frog sounds plays randomly, and toy pipe organ on the other track.

(frog sounds stolen from the brilliant "Sounds of North American Frogs" CD on Smithsonian Folkways).

Tape Mangler CDR: electronic experimental improvisations using a messed up cassette player, a toy drum-machine and voice passed through a ridiculous amount of effects and a self-referential mixer. Cassettes mangled included William S. Burroughs, Tony Conrad, Morton Subotnick, Erik Satie, and possibly some Montoya, lambada and Greek pop.

144. Psychotronic Particle Accelerator (6:17, 2003.05, TapeMangler CDR)

145. Vegan Apples (8:30, 2003.05, TapeMangler CDR)

146. Mountain Crunch (1:42, 2003.05, TapeMangler CDR)

147. Water on the Moon (15:04, 2003.05, TapeMangler CDR)

148. HMLX (0:56, 2003.02, TapeMangler CDR)

149. 840 immobilités sérieuses (9:16, 2003.05, TapeMangler CDR)

150. Burroughs Adding Machine (9:18, 2003.05, TapeMangler CDR)

151. Wishpers (3:57 2003.02, TapeMangler CDR)

152. Valérie et Véronique vont vexer Violette (14:24, 2003.05, TapeMangler CDR)

153. The Scratch Spiral (5:37, 2003.05, TapeMangler CDR)

several untitled improvisations on 12-string acoustic guitar, recorded raw & direct-to-disc in the living room. Private pressing.

154. blink blink (6:24, 2004.07, Lossy DVD soundtrack)

Composed for the short film "blink blink" belonging to the Lossy project by Mark Loeser and Graham Watson. The piece was done by playing the video on my TV, with a electric-eye controlled oscillator taped onto the screen where the main light blinks. Two AM radios set to non-stations were placed in the areas where red blotches occasionally appear. Also, the video output was used as audio input. all this went into the mixer, with an effects loop (reverb and maybe something else) connected in a self-referential manner. I mixed all these sources whilst watching the film. Thus, I was able to strike a balance between an event-driven soundtrack and an atmospheric soundtrack.

Private pressing for friends with handmade jacket. A live-to-disc mix of Terry Riley's classic "IN C". Used in the mix were Terry Riley "In C" (original 1968 version), Shanghai Film Orchestra "In C" & "Music of a Thousand Springs", L'Infonie "In C" A.K.A. "Mantra", Fly Pan Am + Alexandre St-Onge "Dans ses cheveux soixante circuits", Jean-Luc Hérelle "Clarines et Sonnailles" CD, Tape Mangler "In C Whizz", undo: squint00a CD, and a telephone pickup.

155. In C 3 (46:09, 2004.08, In C 3 CDR)

156. spinninground (11:11, 2004.10, released on October The Two by The Identity Protest Unit)

A densemix montage of several edited recordings from the bikes 'n' bows live performance in the park by The Identity Protest Unit (under the direction of Gavin Sheehan). Released on 405 Heatley.

Recordings made 2000-2004 using a homemade binaural microphone underground in the Montréal métro subway system. Slight EQ & editing & montage at sound of rust studio.

157. JOLIETTE (8:05, 2004.11, Souterra CDR)

158. STATIONS1 (11:15, 2004.11, Souterra CDR)

159. ESCALATORS1 (7:46, 2004.11, Souterra CDR)

160. STATIONS2 (7:20, 2004.11, Souterra CDR)

161. ESCALATORS2 (7:05, 2004.11, Souterra CDR)

162. HUM (8:27, 2004.11, Souterra CDR)

163. SWEEPER (5:13, 2004.11, Souterra CDR)

a joke release on a fake 45 rpm. a cappella punk.

164. nobody likes stickers on fruit (1:05, 2004.11, Stickers On Fruit)

165. la-lala-la-la got no use (0:29, 2004.11, Stickers On Fruit)

166. stickers on fruit - die die die (0:28, 2004.11, Stickers On Fruit)

167. piece of sh*te (0:27, 2004.11, Stickers On Fruit)

168. i hate stickers on fruit (1:12, 2004.11, Stickers On Fruit)

169. no good for you (0:55, 2004.11, Stickers On Fruit)

170. no f***ing use (1:19, 2004.11, Stickers On Fruit)

Part 1 of the WaveStar Trilogy : Electric guitar recorded straight to minidisc. The first piece is a simple transformation of the second (slowed down, thus reducing it by an octave and doubling the length). An homage to the New Zealand noise/guitar drone scene and the Corpus Hermeticum label.

171. shine with a fitful light (43:16, 2004.12, Shine With A Fitful Light) CDR

172. shine with a fitful light (reprise) (22:09, 2004.12, Shine With A Fitful Light CDR)

Part 2 of the WaveStar Trilogy : Inspired by doom & sludge metal, this is a noisy doomdrone piece made with electric guitar, 3 distortion pedals and an octaver, plus processed cymbals and sonic transmogrification.

The title is from the long poem "The Culprit Fay" written in 1817 by Joseph Rodman Drake:
 
     But the shapes of the air have begun their work
     A drizzly mist is round him cast
     He cannot see through the mantle murk

173. The Mantle Murk (folded & slowly upon itself) (36:51, 2005.02, The Mantle Murk CDR)

Part 3 of the WaveStar Trilogy : Inspired by doom & sludge metal, this is a noisy doomdrone piece made with electric guitar, 3 distortion pedals, an octaver, some reverb, plus sonic transmogrification and montage.

174. Deliquesce (melt away in the process of decay) (37:38, 2005.02, Deliquesce CDR)

Version 2. Private pressing for friends. A live-to-disc mix of Terry Riley's classic "IN C". Used in the mix were Terry Riley "In C" (original 1968 version), Shanghai Film Orchestra "In C", L'Infonie "In C" A.K.A. "Mantra", Fly Pan Am + Alexandre St-Onge "Dans ses cheveux soixante circuits", Jean-Luc Hérelle "Clarines et Sonnailles" CD, Tape Mangler "In C Whizz", undo: squint00a CD, Richard Youngs "Advent, Part III", Steve Reich "Phase Patterns", Gruppo di Improvvisazione nuova consonanza "omaggio a giacinto scelsi", Gerry Lopez project by Jacob Chelkowski, and live electronics by J.S.

175. In C 3, v.2 (58:00, 2005.03, In C 3, v.2 CDR)

176. Scattered sSkull (extended mix)(26:31, 2005.04, unreleased)

A mix of Excepter's track "Shattered Skull" from the KA album. I wanted their lovely track to be longer, so made it so with some montage and a few simple tricks.

A multiplied chorus of 4 sortof ring modulators built from the displays of VCRs found in the garbage and magnets of ancient hard-drives. Using 2 shortwave radios as "exciter sounds" for the devices, an improvisation was recorded to tape. Then, this recording was slowed down several times, keeping each stage. After this, montages of the 4 diffent-speed copies (and hence at different octaves) were made to obtain these pieces. Thanks to the Electronic Peasant for the idea of the VFD ring modulators.

177. Ringen I (44:00, 2005.05, Ringen CDR)

178. Ringen II (33:00, 2005.05, Ringen CDR)

179. Ringen (condensed) (4:44, 2005.05, released as mp3)

A "radio edit" version, 10% of the length of "Ringen I" which is found on the Ringen CDR release.

180. Parfois les choses se croisent (23:10, 2005.06)

Because of the similarity of Ste-Sophie's and Jacob Chelkowski's performances at Le Placard (MUTEK), I decided to see what they sounded like together. Spent way too much time on it, I guess. Private pressing for the artists involved.

181. avectoisurletoit (10:36, 2005.07)

A montage of several layers of acoustic guitar improvisations and several binaural phonographies made in Quebec City (metal sculpture in the l'Îlot Fleurie, fridge in Méduse, rooftop, bedroom). Some of the guitar parts were recorded with my homemade binaural mic, and the others with a circa 1963 Philips stereo mic named "spoutnik".

182. lenoirdanslenoirnoirnoir (22:19, 2005.08, unreleased)

a "remix" or rather a recontextualisation of noirnoirnoir by Le Black Noise. A typical sleepdrone affair: heavily slowed down, then a bunch of EQ to produce a low droning thing suitable for sleeping to.

The Ringen recordings revisited, used in different montages to create 3 shorter pieces. Ringen III = faster version of Ringen I, i.e. each octave comes in earlier. Ringen IV = improvised mix by hand, Ringen V = original idea for Ringen I, i.e. one octave at a time, crossfading to a lower octave at each change and ending on the lowest one.

183. Ringen III (rapid pyramid) (18:09, 2005.08, Ringen Again CDR)

184. Ringen IV (elves bells) (27:35, 2005.08, Ringen Again CDR)

185. Ringen V (descending) (25:37, 2005.08, Ringen Again CDR)

186. Dans la guitare (12:17, 2006.02)

Live performance. Harmonic singing into the body of an acoustic guitar, which had 2 (cheap & noisy) mics inside and whose sound went through a few effects.

187. colourfields (42:53, 2006.06, One Million Dots DVD soundtrack)

Composed for the experimental video "One Million Dots" by Graham Watson. The piece was done by playing the video on a monitor whilst recording with an electric-eye controlled oscillator "watching" it. Three passes were done, playing back one channel at a time, thus making a soundtrack for the red, the green and the blue channels. One was pitched-shifted up an octave, and another one down. then they were mixed together, treated and equalised. The result was an atmospheric (but intense) soundtrack that sortof follows the image's changes. However, the movie actually features an earlier, alternate, and less intense version, quite different.

A failed experiment. I sang a simple song in a relatively monotone voice, recording in different rooms with different mics. The idea was to overlay them in a massive round, and eventually it would become a pure drone. But even after some 250+ tracks, it hadn't reached that goal.

188. iwishicouldsing (79:39), 2006.06, iwishicouldsing CDR)

A recontextualization of insomnia. the original insomnia project having been abandoned due to technical problems, I decided to make a little something out of the three recordings that survived. These were made using a contact mic under my mattress, recording whilst I was in bed. This picked up my movements and stuff as well as the vibrations from the fridge through the floor. Then, each recording was sped up 32 times, run through some "5 combs" filters and bit of stereo delay to make them less mono.

189. night 1 (6h11m) (11:41), 2006.07, insomnia3 CDR)

190. night 2 (5h50m) (11:04), 2006.07, insomnia3 CDR)

191. night 3 (5h30m) (10:25), 2006.07, insomnia3 CDR)

A recontextualization of insomnia3, more suitable for sleeping. The 2 CDs are housed in a handmade cardboard/japanese paper sleeve.

192. dark was the night (46:00), 2006.07, dark was the night... cold was the ground CDR)

193. cold was the ground (79:00), 2006.07, dark was the night... cold was the ground CDR)

Dedicated to the goddesses Anna Karina and Uma Karuna Thurman. Wannabe Charlemagne Palestine - style singing accompanied by toy organ, pushing my voice as far as I could.

194. untitled 1 (12:36), 2006.10

195. untitled 2 (4:27), 2006.10

196. untitled 3 (3:42), 2006.10

197. untitled 4 (6:44), 2006.10

198. untitled 5 (5:46), 2006.10

199. untitled 6 (15:21), 2006.10

200. untitled 7 (9:11), 2006.10

201. untitled 8 (2:54), 2006.10

202. untitled 9 (8:40), 2006.10

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