Thomas Ankersmit’s contribution to this split vinyl release is “Weerzin” (2004), a piece for computer, synthesizers and saxophone. After a few minutes of munchkin electronics and barely audible small sounds, the composition takes its definitive shape with an exponential growth of the spaces occupied by the music. Silence is gradually replaced by an overwhelming cascade of white noise, electricity and cerebral stimulations which is quite exciting and almost unbearably hard to swallow at one and the same time. Ankersmit’s uncompromising attitude is surely a fine example of remarkable seriousness, a much needed feature in today’s “post-contemporary” compositional canons. Jim O’Rourke goes directly for your jugular with “Oscillators And Guitars” (1992), a minimalist-punk-distorted drone sounding like a sock-blowing melange of Lou Reed’s Metal Machine Music, Sonic Youth and Tony Conrad. Better still; imagine an infinite loop of Who’s “Pinball Wizard”‘s first suspended chord as analyzed and reinforced by Robert Fripp circa Larks’ Tongues in Aspic, everything filtered by the motor of a Glenn Branca-loving deranged vacuum cleaner. The modulation halfway through the piece, a sudden shift of the bass drone pedal changing the whole overall harmony, is alone worth the effort of getting this album.