Howard Stelzer

From then on, I experimented with making collages on tape-copying decks, furiously pressing the pause button on the record side while changing the source tape on the other.

[4] The album consisted of three related pieces, each roughly 20 minutes long and made out of crudely spliced cassette tapes assembled with a two-cassette stereo component.

Stelzer credits these years as having a lasting impact on his thinking: "Everything I thought about music for a long time was based on playing with Jason Talbot.

Critics noted the energy of the duo's live performances, but reception to their recordings was mixed: For Stelzer and Talbot, on the other hand, pause is a weapon, and subversion is the norm, not a change from it.

Thus emboldened, I diced up my failed earlier recordings and transformed them into “Bond Inlets”, which I consider my first artistically successful proper album after numerous false starts.

[9] It would be unforgivable to overlook 1998's Bond Inlets, Stelzer’s crowning achievement; an album where he was able to pick the inherent limitations of consumer-grade tapes apart, laying out a foreboding work of rare emotional power.

There's development, at least in terms of sounds transforming from a beginning of identifiable clankings and machine-hums to full-on space gales into moments of tinnitus-shrouded pig screams, to its furnace-blast endpoint... As a hymn to power and a memorial to decrepit industrialisation, Brayton Point is remarkable.

The album Invariably Falling Forward, Into the Thickets of Closure included contributions from singers such as Peter Hope, Stefan Neville (Pumice), Elisabeth King, Audrey Chen, Tom Smith (To Live and Shave in L.A.), Antony Milton and Bill Ironfield.

Some artists who contributed to this series have been Fani Konstantidou, Ralf Wehowsky P16.D4, Blake Edwards, Yan Jun, Tori Kudo (Maher Shalal Hash Baz (band)), Teresa Smith, Roel Meelkop, Thaniel Ion Lee, Rudolf Eb.er, Phil Todd, John Wiese, France Jobin and many others.