[4] Later, he participated in the creation of Ministry's 1988 album The Land of Rape and Honey, and was noted for his performance in the live video In Case You Didn't Feel Like Showing Up (alongside fellow drummer Martin Atkins).

[6] Rieflin helped Atkins kick off Pigface, the industrial collective that would grow to incorporate hundreds of artists, formed a friendship with labelmate Chris Connelly and founded First World Music.

[9] Improvisations from these sessions turned up later on the CD The Repercussions of Angelic Behavior, which was credited to Rieflin, Fripp and Trey Gunn.

[3] Eventually Rieflin's work with The Minus 5 led to Buck offering him the opportunity to sit in with R.E.M., who had been missing a permanent drummer since the 1997 departure of Bill Berry.

Rieflin was key to forming an experimental ensemble named Slow Music in 2005 with Fred Chalenor (bassist whom he had previously played drums with in the Seattle based instrumental LAND in the late 90's), Hector Zazou, Matt Chamberlain, Peter Buck, and Robert Fripp; in this sextet Rieflin played synthesizers rather than drums.

[13] He was also involved in a music collaboration project entitled The Humans, which consisted of him, Chris Wong, Fripp and Toyah Willcox.

[3] Hector Zazou's 2010 album Corps Electriques featured Rieflin, as well as KatieJane Garside, Lone Kent and nu-jazz trumpeter Nils Petter Molvær.

[15] Rieflin was a regular contributor to Swans, playing an array of instruments from the 1995 album The Great Annihilator[16] through 2016's The Glowing Man.

[19] In an online diary entry dated September 6, 2013, Robert Fripp announced a new lineup for King Crimson that included Rieflin as one of the band's three drummers.

[20] Although this particular version of King Crimson would never record a studio album, Rieflin would play live with the band for the rest of his career.

In early 2017, Fripp announced that Rieflin would return to the band, but that (due to Fripp's desire to stave off complacency after several years of touring) Stacey would continue to drum for the group while Rieflin himself "[would] be focusing on mellotron, keys and fairy dusting, rather than using drums as a main instrument" in the new Double Quartet configuration.