With the recent explosion of interest in the noise scene, a number ofartists, some worthy and some not, have gotten a taste of (relative)success that in years past would have been unheard of. ChristopherForgues, the man behind Kites, utilizes a phalanx of pedals, circuitbreakers, microphones, and amps to achieve his unusual and bracing takeon music. Live, he screams, hisses, and flails into his mics and amps,achieving an unworldly scream of sound that it truly impressive for aone man band.
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The first release in this series began with a live performance and is now a mutant of short interference bursts and quiet signal burps. All of the sounds on this third volume use the second volume as source material. This method of "recycling" noise has compressed Wiese's maniacal signature and made him both more listenable and frustrating.
Onhis latest solo album (the first since the disbanding of Guided ByVoices), Pollard slides through varying styles and approaches, craftinga diverse and captivating release in the process. 
This, the first of three limited edition Death Row Radio 7" singles coming in 2006, contains the gentlest ‘fuck you’ to creationists I’ve ever heard. If the child behind the voice of the A side can understand and explain the origins of the universe, then maybe there still is hope for the knuckle-dragging right wingers of the world.
Tara Burke's music is a shining example of what is horribly wrong with all this New Weird America crap. For all of its cerebral machinations there is little emotional impact, almost nothing human capable of taking me from the mundane to the apparently odd world of psychedelic composition. Some of the music may sound nice and full, but I just don't connect with it.
Almost in reaction to Modeselektor’s recent foray into poprealms with Hello Mom!, Bpitchinaugurates a new series of DJ mix CDs with a disc from the prolific Kiki, aFinnish producer with several singles and a full length on the label and many,many compilation appearances elsewhere.
Modeselektor's debut full-length release focuses their technicaldexterities on a brilliantly diverse collection of robotic pop andround, hazydub currents, full of guest vocalists, humorous suggestion, and energythatfeels entirely organic despite the continually wow-ing productionplays. 
Mike Cooper is a difficult artist to situate, straddling as he doesseveral radically different musical spheres. There is thesinger-songwriter of the 1960s, working in a traditional folk-bluesvein alongside legends like Son House, Bukka White and John LeeHooker. There is the free-improvising maverick of the 70s,producing genre-defying free-folk-jazz with improv luminaries such asKeith Rowe, David Toop and Max Eastley. Then there is the mostrecent phase of Cooper's career, producing idiosyncratic modern exoticacombining his passions for Hawaiian lap-steel guitar with fieldrecordings, dusty record loops and forays into drone and noise.
Hard techno purists have come to rely on the handful of twelve-inchesfrom the Collabs series, brainchild of Joachem Papp (a.k.a. Speedy J)in partnership with select formidable co-conspirators. Here, one suchparticipant, globetrotting DJ/producer Chris Liebing, adds hisdancefloor know-how to the mix, yielding powerful results.
This five-song EP is just what the title says: free music. The entire album can be downloaded from the 
