We’re flattered to share with you the seventh PORTRAIT episode: our guest today is Laurent Mialon aka La Peste [French for The Plague], a deeply influential French avant-garde electronic music producer who started back in mid 90s with speedcore / experimental speedcore raids, and then reached out to estabilish his own imprint Hangars Liquides and consequently managing to define the Flashcore genre manifesto and aesthetics. In mid 00s the artist devoted himself to composition, releasing one of the most interesting acoustmatics records ever: WTC.XTC, released in Dolby 5.1 (and also part of a wider multimedia art project). There’s much to say about Hangars Liquides, La Peste, Flashcore, and experimental hardcore by the fall of the second millenium: this article stands as a totally incomplete account of those topics, in which star Laurent’s very own words.
Right here below you can find the 65-minutes-long previously-unreleased audio, exclusivelly recorded for us, called ‘Para La Santísima Muerte Flashcore Live Set’ and including both brand-new and old material. Then, as a mean to introduce you La Peste and HL’s activity, you’ll find a brief explanation of what Flashcore was meant to be, a selected discography courtesy of Jon Weinel, our detailed interview and many more context information. We hope this article could work for you as a quick insight and attention-catcher. For further detailed stuff, check the webography section at the end of the piece. To listen some La Peste stuff instead, click here. Enjoy and support!
The “flashcore” genre name first appeared in early 00’s as a very own expression of La Peste and Hangars Liquides; so, despite the fact it’s easily possible to refer to it several artists and tunes, it’d be basically inaccurate to attach it to acts not being La Peste or HL themselves. As a matter of fact, many HL producers didn’t even consider their music being flashcore (“Neurocore reportedly has referred to his music as cyber/abstractcore”: see few lines ahead). All that considered, it is possible to point out some groundtruth for correctly spot a flashcore release among the others: the key reference for us has been the fundamental piece Jon Weinel wrote last May 2007 on Spannered.org, out of which we’re also taking a short, random-ordered recommended discography you can catch up with at the end of the article.
“The music is so physically immersive as much as it is ruthlessly abstract” [via]
Flashcore could be described as some sort of fusion of brain-dance-music [we’re not big fans of the Warp-ad-hoc-devised ‘IDM’ term] and Speedcore, most of the times without recurring to any fixed BPM, that could instead dramatically change within each composition. The main peculiarity of a Flashcore piece was, basically, to be undanceable. This, however, doesn’t affect the deep bond between Flashcore live shows, a (good enough) surround sound-system and the crowd: most often the tracks presented complicated subconscious-stimulating kick patterns and barrages of bassdrums, which were meant – also helped by heavy, flashing strobes, yet surprisingly without the scrict need of consuming drugs – to uplift a bottom-less wall of hi-tech, schizoid / psychedelic sounds. The ultimate goal was to trigger a deep, LOUD transe-state in the public. Few lines below you can find a listening example.
Flashcore comes as one of the latest multiple facets of the mid 90’s flourishing hardcore techno scene that spread all over the world, from Europe [Netherlands, France, Belgium] through West Coast US [New York] and that gave birth to even more extreme sub-sub-genres like extratone or terrorcore. The fact that nowadays these are relatively little known hardcore styles, way less famous than other early ones, came with the scene focus relentlessly shifting towards ‘easier‘ genres such as Breakcore, which even got to gain conspicuous media attention. This had also something to do with the comforting option for a wider section of the electronic / rave music audience to relate on cheering Drill’n’bass techniques and deconstruction attempts, against facing draining storms of abstract, industrial-noise avant-gabber frequencies. To read more about the state of Experimental hardcore in the 90’s, we recommend you go check here the freely-available 20-pages-long in-depth-analysis document written by Sönke Moehl aka Low Entropy and Daniele Di Stasi, called The Hardcore Condition, released in January 2015.
THE exponent of flashcore is of course, as you already may have got it, Laurent Mialon, and Hangars Liquides THE platform for releasing it: the label also hosted records by Atomhead, Neurocore and Senical, among the other main exponents of the genre. A part from his own imprint, La Peste published couple of 12” on Labitox Records, Reverse Records, and Christoph Fringeli’s Praxis, plus a lots of killer mix-tapes that can be easily found on www.mixcloud.com – just type in ‘La Peste’ and be ready to get your mind and body blown. Anyway, although is way far from being complete, you can go check his discogs page to keep up with the records he’s been releasing so far.
In 2001, he announced that he would devote himself to pure avant-garde music, decision that in 2002 brought him – right after having met the French composer François Bayle, credited for having coined the term Acoustmatic Music and also numbered as one of Laurent’s main influences together with Bernard Parmegiani and Iannis Xenakis – to join the electroacoustic music class of the Groupe de Recherches Musicales (GRM) at the Conservatoire de Pantin. La Peste’s sonic ventures culminated in the mastodontic record WTC.XTC, which happens to be also the first album out on HL incorporating multimedial art, in form of an extra DVD of more-than-35 minutes of dreamlike, interactive videos created by the multimedia artist Djehan Kidd. The reported goal for the CD + DVD combo was to embark the listener on a strange, returnless psychedelic journey thought to bend the space-time curve – as already detailedly pointed out in the Flashcore manifesto above.
Besides the insanely-good releases themselves, the reason why we got so heavily fascinated with La Peste’s psychedelic travels attempt to collapse time in a single, eternal glimp of explosive and booming noises, odd rhythmic patterns and walls of bass frequencies, was the deep relationship between the music and the new technologies as means for manipulate sound. In Flashcore, as much as in lots of late 90’s hardcore sub-genres, pioneering softwares and platforms were used – sometimes also developed – by the artists, and it’s of key importance to understand the strict link between those two forces. As pointed out in Weisel’s article, Flashcore was mainly a no-dancing, strobo-lights laptop live show, being the computer the only instrument effectively capable of producing real-time, hyper-fast sound vortices… blasts that could be considered even today some of the most brutal and crazy pieces of music ever.
Patch I did on the way back from the Extrem Berlin party.
Posted by La Peste on Sunday, February 7, 2016
Just a single fact before letting Laurent speak for himself in the interview: we’d like to throw few words regarding something which is just side-linked with La Peste’s activity, but very interesting nonetheless. In 2007, Hangars Liquides, other than an experimental hardcore label, became also a Virtual Reality portal which was entirely developed by Djehan Kidd, having Laurent Mialon as its sound artist. HL turned out to be the first and most successful dystopian, cyber-punk / noire virtual city in the Second Life gaming community, online 24/7.
Hangars Liquides started to be “rezzed” (VR term meaning to create an object on a Grid) in 2007, the same year it became a non profit organization of which corporate status is to “create, promote and diffuse any kind of art”.The city is entirely 3D sound designed, the sound has been considered as much as the physical structures, a radio also broadcasts all the Hangars Liquides new musical creations in situ. With around 50 different themed destinations, about everything you could find in a futuristic city can be found there. Its area spans over 5 different Simulators, 1 of them is hosted by the RL China Academy of Art. In 2008 the city was honored to host the first VR new media classes of the China Academy of Art. Thanks to the very creative energy surrounding VR since many years now, the city has been featured in over 150 machinimas, (including the movie Life2.0 that premiered at the Sundance Film Festival) and over 10 thousand pictures of it can be found online. [via]
“The city is a pseudomodern entity and is populated by people that bring life to data, the ones that talk to artificial intelligence bots and that can find shelter in zeros and ones. The same people that will give death to post modernism through their love for beauty and by their spirituality through dematerialized digital art”. [via]
Our we-hope-you-had-found-nice long introduction is over, it’s time to let Mr. La Peste express himself. Have fun, and don’t forget to check also the Webography and Jon Weinel’s recommended discography at the very end of the piece.
Q: Hi Laurent, thank you very much for being here with us today. As we’ve been doing since last February with Kareem’s PORTRAIT#1, we’d like to start the interview by asking you to describe the mix you recorded for us. Which compositions are featured and when do they date back to? Is PORTRAIT#7 audio close to what are you proposing on stage today?
A: Hi guys! It’s mostly made of audio bits done in 2k16, I’d say 80%, with also some stuff from past years, and none of this material has ever been released. The intro has been heard a few times. It’s been made exclusively in my audio garden, using modular synths or field recordings to play patches I’ve designed from scratch, from where I extract segments which are later transformed, or not, in the DAW. It takes ages, since I wish to have this intimate relationship with the frequencies from the beginning. …I am not disturbed about the guys playing their ‘live act’ on Traktor, by adding layers of other’s ppl music, even blurring the lines by posting their composition on soundcloud, nor I am about those playing presets, they are free to do so, and the finished tracks or presets are actually made for them. This is just not my stuff.
I feel close to the Alpes cristal hunters who barely dare take a gem out of a vein in its natural surrounding – plus I love to enjoy the full scenery and lack oxygen. Then, after a tedious derushing/re-arranging process I come up with segments of audio, that I play within my performance liveset, using max for live effect chains. It’s not that far from what people have heard live recently, but no second is identical. I believe any performance should be an improvisation, based on the moment’s context. We will die, how can we ignore it to such an extent that we would copy time? Any refurbished or previosuly recorded live act is a lie to me.
Q: We bumped into an article by Dr. Jon Weinel on Spannered.org dating back to 2007, in which the author “talks of the mystical secrets imparted to him by the guru-like La Peste, of a far out form of psychedelic avant-garde hardcore techno known as FLASHCORE“. Besides the article itself, we’d like to know about the origin of the FLASHCORE name, the genre you gave birth to. Was it an overnight call or something more of a growing mixture of styles and productions that needed their own proper acknowledgement? Was Hangars Liquides started as a consequence of that?
A: I’ve been overwhelmed by this article and the ‘manifesto’. I do not wish to be a guru (it would mean I’d be seriously blind !), I do not wish to celebrate any sign or style. But yes, a bit less than 15 years ago, among the many terms used in the never ending smoky after-party discussions, that ‘flashcore’ name was used, and I did feel seduced by that down-to-the-synapse air sculpting posture. It is not copyrighted. I think it’s an illusion to pretend inventing anything, it’s just a crystallization process, using actual elements, sweat and tears. I was influenced by Xenakis, and Liza N Eliaz, and the GRM works, and that car crash, and that thunderstorm, and those jet fighters, and Ivorian drums, and Indian classical music, and, and, and… Hangars Liquides actually started before, in 1997, I wanted to hear something I was struggling to hear, and explore that vein. Since I wasn’t into sending demos to any label waiting for their approval, I needed to be a producer too.
Q: Going on with the previous question: what about the HL manifesto you wrote in 2004? Of course it stands as the most accurate definition of the label’s and La Peste’s aesthetic, but – at least to us – it sounds almost as an exercise of divination, for how it predicted the evolution paths and trends not only in the present electronic music scene, but also in art and culture in general. What do you think about it? How do you relate, if you do, to the latest experimental techno / experimental / whatever styles and acts?
A: That manifesto wasn’t really meant to be one. It’s kind of a joke I guess for any Art student, maybe not – I think you learn Art by practice, with your blood and not by staying in the comfy seats of Uni. At the same time the average discussion and conceptualization level in the techno scene is so poor that it became a manifesto. I do have a relation with techno, and trap, neurofunk, vaporwave or mainstream electro, since I do not live on a desert island. Sometimes, I witness a way to express things I wish to say that I find great, and I then later integrate the process, my way, in the pieces I’m in. Sometimes, better, you hear soe who pushes you to dare play smt you were reluctant to play, worried about the crowd reaction – I usually don’t give a fuck … but there are some sounds I know can send you so very far away and that I’ve kept for bedroom after-parties. Recently Roly Porter for instance, gave me the confidence to play more ‘violent’ music (haunting my HD, but that did not leave the studio)… and to conquer a new audience.
My biggest wish is in general that artists break their chains, I find it sad that too many guys prefer the comfort of their stylistic sleepers. I like to shake people, I rarely lift my eyes and quit my workspace when I perform – I should actually, and I’m working on it, so that they realize I haven’t any bad intentions… – but when I do, it’s an unbelievable pleasure to see the butoh-ish moves provoked by the frequencies. Technically, I feel close to people who really perform live, such as Tim Exile, or some free jazz musicians. Honestly, the average level in electronic music is extremely poor – it’s the first time in history so many new instruments are emerging that quickly – and musicians are barely even scratching their surface.
As years go by, I feel more and more connected to my part of the noosphere. Of course the connection with the machines is stronger too, nothing mythical please, this is just practise. I wish to insist on that connection with the tools I use. I’d be nothing without some hidden C++ coder. I feel connected to Bill Mathewson from WMD, Ieaskul F. Mobenthey for instance, as manufacturers, to Randy Jones from Madrona Labs, Tom Erbe, Sean Costello from Valhalla DSP. … as developers… if I dare say that (!!!!), because obviously they compete in another league – I should rather say : I thank you guys for your amazing work, you designed what it is the perfect playground for me, I love flying your jets.
Q: Sticking with the early days of Hangars Liquides: could you tell us something about your geographical background? Do you think that telling where were you living at the time would be of any significance for our portraiting purpose or is it more of a merely random fact? When did you record your first tracks and which contemporary acts did you feel more connected to?
A: I was born in Bordeaux, spent my childhood in the South West of France. Hearing the repetitive crashing waves of the Atlantic and the big thunderstorms we have in the Pyrenees has marked me forever, yes, as well as the Mirage jet fighters taking off 5 mins away from where my parents lived. Something I don’t remember having said in any itw, and which has probably been trully significant: in Bordeaux, there’s been a contemporary art center, the CAPC not so far from the great Museum d’Histoire Naturelle (a curiosity museum with all its exotic snakes decomposing in XIXth century formalin). I don’t remember being impressed by the works I saw, but I loved the presentation. The first time I attended a rave party, in 1991, this was a revelation: at least the sounds were ex-posed as I always dreamed they could be, projected in their naked beauty in a virtual empty room without the unnecessary circus of a symphony. I love the cliffs and the dihedral shapes – and appreciate my time off Berlin, whenever I can witness some tectonic force. I’d better have a residency close to the Trango Towers than in Dubaï.
Q: What’s your cultural and technical background instead? Are you a professional sound designer, aren’t you? We understood [via fr.wikipedia.org] you devised signatures for Samsung, Futuroscope, Singapore Airlines, JVC, Dynastar, Nestle, Kia Motors, LCI, the NBA and many others, is that right?
A: I’ve been making sound design between 2000 and 2003, in Paris. After spending 7 years there, I decided to move to the mountains, and lost my clients immediately – being categorized as a hippie smoking weed and kissing trees. Pushed by the necessity to get cash again, whilst wishing to keep living where I was, I started to learn to be a submarine robot pilot. In that respect you can say I have some subsea engineering and electronic background. Every other month, or close to, for 8 years until early 2k15, I was in the middle of the open seas. Now that I’m mostly spending my time in Berlin, I could resume being a sound designer – but instead so far, I have been working exclusively on composition and performing.
Q: Are some of them available somehwere for listening? Did you bring in advertising a bit of your La Peste attitude or were the two completely separate entities?
A: I must make a portfolio, thx for reminding me… I’m pretty terrible when it comes to compile the past. It sounded very jungle / big beat-ish because this was the request. Wished I would have had more freedom. My clients did not care very much about the details of my personal musical activities, but they knew I was making music for ppl high on drugs – which was actually totally compatible to what they expected from me: create a state of hyper receptivity to receive a message.
Q: Talking about your live activity, in what kind of places / spaces you used to play the most by the fall of 90’s / early 00’s? Which artists you shared most frequently the stage with? How did it feel to perform in front of a huge public of commercial events such as the Thunderdome 2000’s? How do you feel things changed and what’s left of that rave / sound-system culture today? Did you ever consider yourself of being part of it?
A: Mostly illegal rave parties in warehouses. The K-Bal sound system in Paris, Helius Zhamiq, Armaguet Nad, Pushy !, Laurent Hô, Christoph Fringeli, No Tek, etc… were among the people I was playing the most. At Thunderdome, I played in the tunnel of Terror, not the main floor. First time I saw arms raised there during my dj set … Made an off tempo long cut until I didn’t notice anything. Fascists of any kind have to be eradicated from areas where the mind wishes to fly.
At the time, it was possible to know almost everyone in the ‘hard’ scene, whilst now, there are huge events with some names artists playing at other big events have never heard of, that’s a huge difference. Since you ask, I’ll give you some random feelings about the ‘styles’ around. Those are just generalities. I have been listening of course to so much techno, and even more since I live in Berlin. What’s great there is that you can meet listeners who will route you to the finest in the ‘genre’, if any. I’m pleased to witness that convergence between dark techno, breakcore, power electronics… whilst hardcore – if you look at the whole picture and beyond the exceptions (please ! I am not talking of people surfing on Liza N Eliaz’ legacy or following their way beyond trends) – was once one of the most innovative genre in electronic dance music and has now become one of the poorest segments. I would not give a fuck … if the psychedelic energy hadn’t gost lost, absorbed into the over marketization. In general, there’s much more interesting happening in any electro-acoustic conservatory, but no one gives a fuck.
Q: Let’s now dig a bit into your overall music production: we’re deeply interested in the breakthrough album / multimedia art project called WTC.XTC [HL 023] out February 2004, and in particular in the CD part – the one you composed and recorded. What was you goal when you commited to the project? When did you decide to devote yourself to pure avant-garde composition? Why are the compositions split in so many short-timed fragments (46, considering the 7 minutes silent break)? Is the record named after the World Trade Center and Ecstasy?
A: I wanted a break from triggered music at the time, was seriously fed up with regular clocks and – to quote the formula used by the GRM guys – ‘pissing synths’ (they meant singing just because of the lazy presence of LFOs working instead of a composer wondering why the story should continue)… hence this little trip in acousmatic territories. I was also meeting my kid’s mother, who did the visual part, at the time the 2 most famous parallelepipeds in the world got turned into dust. I think I’ve always tried to follow my way somehow, with more or less success. Being part of some avant-garde has never been a goal in itself. I feel like I am an audio gardener.
“This audiovisual work is about the idea that any centre of attraction will end ineluctably in collapsing on itself, such as what astrophysicists call gravitationnal singularities. Although the WTC attacks were the departure point for this artistic project, Aurélia and Laurent have, however, since extended their reflection to the quest for a necessary aesthetics of collapse, in general” [via]
Q: “Nothing essential happens in the absence of noise” is Berlin-based Praxis collective tagline, on whose essential breakcore record label you released the Safety First 12” in 2007 – which was repressed in 2014. How would you describe the two one-side tracks on the record with respect to your previous compositions? How was, and is now, your relationship with Christoph Fringeli and the crew? Which elements do you think FLASHCORE and Praxis aesthetics share, and are separeted by? [note: we’d also like to recommend Silvia Biagioni‘s “Nothing essential happens in the absence of noise” short documentary about Praxis and Datatacide, partecipating to ViaEmilia@docfest; see it right here]
A: Christoph Fringeli is one of the most gentle and honest persons I know, and one of the most essential builders of hard electronic music. He’s beyond ‘breakcore’. I wanted to give frequencies to a friend, that’s why this record happened. We don’t see each other as much I as wished, though living now 3 stops away on the S-Bahn. I cannot talk on his behalf, but I think we share the idea that borders are useless and that frequencies can destroy walls.
Q: When and why did you decide to move to Berlin? What can you tell us about your latest Krystal Jesus moniker you’re about to release some stuff as? Had the new city affected the slightest your own personal way to create music? At a more general level, how did your creativity changed since your first releases? What kind of music are you mostly listening to these days?
A: I moved to Berlin in December 2k15. This is probably the best city in Europe for electronic music. Here you are surrounded by some of the best in their genre. This is truly motivating. Also there is an audience for anything, even some flashcore-ish niche for instance. Which is great, if you wish, your stuff will be tested and evaluated on big membranes. In that respect, the city has pushed me to get a tighter though wall shaking low end for instance. As far as creativity is concerned, this is a difficult question. When I hear 98% of the electronic music tracks around now, I can tell how they are done, or at least how I’ll do smt similar with the tools at my disposal. This is pretty daunting honestly and can be a blocking factor. The cool thing is that it kind of pushes me to act freely, I’m not trying to replicate something to prove I can do it. Yeah, I could make a roll like this for instance. It’s my choice not to do. I guess this is close to what some climbers are seeking, after some years, you become obsessed by opening a new route in that nameless peak you saw whilst you were on another cliff – this is not about making a premiere though, feeling more alive maybe and something else I can’t define.
I try to listen to everything, and appreciate to be surrounded by people helping me with their listener’s digest. I am curious of what is top of the charts too. All depends on the context, if I wish to feel galvanized or if I seek defragmentation. When I drive for instance, some banging techno à la Xhin fits perfectly. So many things from the Entity catalog have been running in the background. Big up for Jan Robbe btw, the man has peacefully managed to create what is to my ears the best netlabel in the world. Some random favourites from the last months : some of the last Qebrus tracks, Roly Porter’s last album, Darien Brito, my friend Richard Mindivil…and some so called oldies, yet fresher than what they marketing guys want us to believe : Coltrane’s last concert, Julio Estrada, Francis Dhomont. But, as any musician, I spend statistically most of my time listening to what I am working on, notably hours of generative patches from which I need to extract some material.
Q: How are La Peste and Hangars Liquides going recently? Reading HL’s website and searching the YouTube we found a lot of footage of HL Nights all over Netherlands, France and Germany, other than many La Peste single shows: still having loads of fun, eh? How much time are you devoting for production nowadays? Do you think you can reveal some infos about your next release – if there will be one?
A: This ‘la peste’ name is like a burden to me. So many years have gone since that party in 93 where I had to pick a name for my first gig. I don’t wish to lose time repeating myself to please an audience who expects me to play stuff like the HL05. It can lead to some misunderstanding too. That’s why I’m switching to this new name, what I should have done some time ago.
You can hear extracts of my forthcoming releases on the link you mentioned above. One is for NTT, the other is for Anti Narcose. I have much more in the pipeline, but not saying a word until it’s actually done. At some point you can hear them in the live set too. As far as HL is concerned, I must admit I’m not really in a producing mood actually, and I’m glad people are offering me the opportunity to broadcast stuff on their platforms. Releasing a finished track is not a priority for me though. I’m a performer dealing with volatile elements.I need to work more and reach another audience to be able to finance some audio projects I have in mind which will require some total and exclusive dedication for while.
Q: Just one last question before leaving, which is about the legacy of La Peste and Hangars Liquides over the years. As we understood it, accelerating technology played a key role in FLASHCORE: “[it offered the] possibility to shorten the time it takes for mental images to come and to invent new forms of mental representations“, right as you put it in the HL Manifesto. How do you feel things changed since 2004 about those aspects you developed your personal take on advant-garde music on? Did the time it takes to invent new forms of mental representations collapse to zero due to the unprecedented technological development? If so, is there any chance today to be as radical and uncompromising as La Peste and HL have been? What boundaries are left to be overcome, and which one Laurent Mialon is still willing to push?
Hope you had fun in answering our questions as much as we’d been honoured to have you with us. Bye, see you soon!
A: It’s funny you ask this now, since I am writing on new brand new computer – had the same one since 2010 until one week ago. Fasters CPUs do not mean you will make better music. It can be such a trap actually – you can get lost in the possibilities and forget about composing on a wider time scale (consider tape music of the 70s, where you were forced to think and planify your work… Parmegiani’s works are so well composed, and defy time… whilst assembled with scissors and glue). I’ve spent the last years rendering offline some processes I can now do live – and yes, I’m pretty excited to explore some real time spectral transforms. Wunderbar, I’m as excited as a kid with a new toy. But I will not progress unless I take some distance from the sonic objects I wish to fly with.
Thank you so much for your time and interest in my audio garden. Hope to see you soon in Italy!
Selected discography by Jon Weinel, random order
- 2005. Resonance FM Podcast
- 2006. Spiral Field Velocity 2.0. Hangars Liquides, 12”, HL028
- EPC. 1998. Haikumputer. Hangars Liquides, 12”, HL001
- Euromasters. 1992. Alles Naar De Kl—te. Rotterdam Records, 12”, ROT009
- Komprex vs. Frazzbass. 2005. Spaghetti Cunts EP. Special Forces, 12”, SPF011
- Korrigan 1998. Antisocial Koporation. Hangars Liquides, 12”, HL006
- La Peste
- 1998. Untitled EP. Hangars Liquides, 12”, HL003
- 1998. TNT Cosmos Tape2 listen here
- 2001. Untitled EP. Hangars Liquides, 12”, HL021
- 2004. WTC.XTC. Hangars Liquides, CD+DVD, HL023
- 2006. Untitled EP. Hangars Liquides, 12”, HL024
- 2005. Untitled EP. Hangars Liquides, 12”, HL026
- No Name. 2006. The Last. Homicide, 12”, Homicide The Last
- 2006. The Starship Travellers EP, Underground Perversions, 12”, UPR05
- 2004. Untitled EP. Hangars Liquides, 12”, HL018
- Sleepbug, Element Abuse, Obnoxious. 2005. Insomnia EP. Anti Narcose, 12”, NARC01
- UndaCova. 2006. Intrusion. Dyslexic Response, CD, DR14
- Various. 2004. Carbon. Mirex, CD, mirex_C_3
- Venetian Snares. 2001. Untitled EP. Hangars Liquides, 12”, HL019
- Xenakis, I. 1997. Electronic Music. Electronic Music Foundation, CD, EMFCD003