N O   P A R T   O F   I T
Far more important than baking bread is the urge to take dough -beating to the extreme - Otto Muehl

Thursday, October 1, 2015

Bryan Lewis Saunders & Arvo Zylo - "The Pleasure Tunnel / The Temple of Paradise" now on Bandcamp

Bryan Lewis Saunders is a creative juggernaut.  He's probably best known for his art book of daily self-portraits on various different mind-altering drugs, if not his huge collection of found photography, his aptitude for surrealistic visual art glossolalia and his "Stand Up Tragedy" Performance Art.  He recorded 2 different dreams that took place at the same dream location. He has done dream recordings hundreds of times, including his multi-volume audio book "The Confessor". This was the only time he returned to the same location in his dream, so he put the two audio recordings together, because they also happened to have damn near the same length. Saunders had a severe lung infection at the time, so it's doubly weezy. I did what I could to honor this magical place "The Pleasure Tunnel / The Temple of Paradise", including recording myself reading the transcripts upon waking, and making a soundtrack to it. It comes on pro cassette with 2 colors on clear no liner shells, a full color, double sided 5 panel J card with dream transcript, liner notes from each artist, and is a c40 or so on Chrome tapes. Mastered by Zach Adams.  At this time there are 4 copies remaining.
Bandcamp download includes dream transcript text file and original recording of Bryan Lewis Saunders' two dream speeches fused together.
In the process of digifying things that are still in print since the "off-the-grid" money order/xerox newsletter period for the label, there will be more from Illusion of Safety and WILT, among others, with bonus tracks and other items.  

Wednesday, September 30, 2015

Sequencer Works VOLUME TWO

Copies of the SEQUENCER WORKS VOLUME TWO are here!  This also marks the end of the "off-the-grid" era of NO PART OF IT label.  I will still give discounts to people who want to send money orders to my mail box, but I will no longer neglect the possibilities that the WORLD WIDE WEB provide.  This is the sequel to VOLUME ONE on the excellent OUT-OF-BODY RECORDS label.

Sequencer Works Volume Two  is co-released with 3 other labels, and seems to be the last release on the venerable C.I.P. label, which has now closed its door and shape-shifted into the extremely intimate and specialized BALLAST label.  Also taking up the torch are RAINBOW BRIDGE, and FOREVER ESCAPING BOREDOM.  The copies arrived today.   This is technically a PRE ORDER, although I have the copies on hand and will ship immediately.  The download will not be released until October 15, because I want to make sure the other labels have copies at that time.  I will leave them to writing a descriptive scrawl on the nature of this material, I am no good at being poetic or even vaguely hyperbolic about my own work.  I will just say, as I have said before, I had no idea about experimental music at this time, basically, and I thought what I was doing was totally ground-breaking.  I usually tried to start making a song, but it often delineated into me messing with sounds, layering as much as I can, and just letting the machine do its work. The goal was to finish a piece not knowing how I made the sounds that happened.  In that context, this is the most musical of the output, the least expansive and freeform.  VOLUME THREE is already bubbling, and that will be my most insane material.  I feel like every track on this one is very unique and still stands out compared to other instrumental/experimental music, certainly very few people write entire albums on a single sequencer alone, much less spend a decade or more messing with its character traits.

The tape includes liner notes, a full color, two sided 4-panel j-card, a two color imprint on black cassettes.  60 minutes.

Here is a tidbit of history for how the first track came to be-

Originally, this piece started out as a backdrop to my first performance in 2003, where I played a noise arrangement entirely from applause sounds on the sequencer, at an extremely loud volume. The police arrived shortly after. Later on, I was given the offer to open for the now defunct band Coughs, in Detroit, and I made this piece beginning from those applause sounds and expanding for the show, among other things.

Also, I was interviewed again on the UNDRESSING UNDERGROUND podcast, it was released today.  I talk about this release, the Transitory Reflection project I'm working on, and the recent debacle with Tonetta.   You can download directly HERE.  I come in at about an hour in.  An artist called SassyBlack who refers to her work as "psychedelic sci fi funk" is also interviewed, as well as poetry recitals of craigslist missed connections.

Here is the short description.

Material recorded between 2000-2003 entirely with a Yamaha Rm1x sequencer in a closet or crawlspace. Among Arvo Zylo's most musical work to date, much of the material took up the entire memory of the sequencer, because of the amount of automation. Culled from dozens of hours of archives, either released in extremely limited quantities in 2004 or before, or previously unreleased. A Sequel to Sequencer Works Volume One on Out-of-Body Records.  Mastered by Zach Adams

CASSETTE VERSION : Co-Released by NO PART OF IT, C.I.P., Rainbow Bridge, and Forever Escaping Boredom, this is a professionally duplicated c60 cassette with two-sided, full color 4-panel j-cards in a norelco case, with liner notes. . Cobalt tapes, 2 color Silver and Violet imprints on black tapes. Limited to 100 copies.

Includes digital pre-order of Sequencer Works Volume Two. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it's released. 

Wednesday, September 23, 2015

Tonetta problem.

LET IT BE KNOWN:  I have tried to send a xerox of Moneygram information twice, and it has been returned to me both times.  This is regarding payment in advance for the s/t Tonetta cassette I released earlier this month.  My honesty is being publicly called into question, and here is my modest evidence.  Please forgive the quality, I couldn't find my camera, and I used a flip phone to take the picture.  Anthony Jeffrey's address is obscured in the event that it is actually his real address, to protect his privacy.   I initially spoke to him on the phone, but his number is no longer in service.  I have tried to send the MoneyGram info to Jeffrey online, but he won't accept it, unless it's sent by post for some reason, and now he is calling me a scammer.  The man doesn't own a computer, or a bank account, and now also a phone line.  He's not exactly making it easy for me.

.  When I announced the release of the cassette, I said that he was paid in advance, because it had been 3 weeks since I had sent him the Moneygram information, and I wouldn't be surprised if I never heard from him again.  Literally the day after I made the announcement, the first letter was returned to me, at which point I sent it again.  He obviously doesn't know much about the flaws of the American postal system.  Make of it what you will.  If this stubborn, counterproductive nonsense continues, I will burn the remaining cassettes in the street.   I didn't do this for money, I did this to support a person whose music lifts my spirits, and who has been screwed over in the past.  No good deed goes unpunished, as they say.

Update 09/23/15-

Here is my receipt for mailing a registered letter to Anthony Jeffrey.  This includes the Moneygram information for him to pick up cash at any Moneygram location with a valid ID.  The tracking number is re126770295us, and a signature will be required.  Hopefully this address works this time.  I have been told he hasn't moved, and there was just some error twice in a row, mysteriously.  Here is the link to USPS tracking for this letter.

9/24/15-  My comments are being deleted.  Here are those that I remember, I'm sure there were more.  

UPDATE 09/26/15:  Now he's saying I owe him 500 dollars and is sending supposed "representatives" after me.  I only agreed to give him $100 in advance and an unspecified amount of copies.  I also went over the tracklisting with him on the phone, and he told me to credit D.L. Waters as the songwriter for one of the songs, which I did do.  I have removed the album from bandcamp and ceased the sale of copies.  I probably won't make them available again.

UPDATE 09/28/15

An animal sacrificing type of Satanist with bad grammar has contacted me as his "U.S. Rep", trying to perpetuate Tonetta's lies with equally bad grammar.
I commented with the following statement:

Tony, I'm not selling your cassettes anymore. I stopped immediately when you had your "US REP" contact me. I am going to burn the rest of the copies. I'll post a video of it. I don't want any more to do with you. I wanted to help you. You have the reference number, you can pick up the money any time. A copy of the info is in the mail to you registered. You neglected to give me your apartment number so the letters were returned. You should really get professional help.


More comments have ensued, they're even more redundant, nonsensical, and erratic than before.  People like to waste time.  However, I did get in contact with the head of Black Tent Press, the label that Tonetta alleged to have ripped him off.  Here is what he had to say:

Hi, my name is Dirk Knibbe, I run Black Tent. I’d like the opportunity to respond to the recent accusations implied in the newly released video work of Tony Jeffrey, known to all as Tonetta. Our relationship began a few years ago under the agreement and understanding that there would be little money in this venture and that the art, and its purpose was the primarily goal to share, promote and focus on. I have repeatedly encouraged him to play shows and tour a little so he could make money on his own with his work. Even facilitating musicians in Toronto who were willing to back him as his band. Where profits have come in they have been paid out to Tony. He has received well over 2 grand in sales payments actually. Why he has chosen to imply that he has not received any payment is simply false. Like many of you know as fellow musicians and music lovers there is very little money in selling records these days. Especially the variety of high quality and expensively produced hand printed limited edition LP’s by such a NSFW explicate and provocative artist such as Tonetta. On top of the large investments into producing shows by his request, professionally documenting his work, travel cost to Canada to do work with him, the purchase of new audio and video and gear for him, the re-mastering of poor quality audio, sending out large of amounts of free LP’s & CD’s to share this remarkable artist with all there has been very little return of profits in this venture.
When I met Tony for the first time I was the first person to set foot in his apartment in 10 years. He lives in an isolated world that is his. And as much as it is remarkable it has not always been in tune to a larger reality. Having to explain what I now explain to you, dear reader to a man who stopped listening to music in 1980 and didn’t know what downloading off the internet meant, has been, lets say, interesting.
I do this all by myself. I work full time outside of this to support just myself. I do this because I love it and believe fully in the works of the artists I have worked with and shown to people. I am not claiming I have done things perfectly. This entity is a challenging beast to feed and keep afloat. But I feel honored to have worked with such a truly remarkable, brilliant, albeit challenging person such as Tony. It is unfortunate that our trust has been marred, but he has chosen to stop communicating with me over these last few months so there has been little I can do to mend things. I hope there is a record label that can give Tony what he now seems to most desire. A steady paycheck. I hope to do his work honor in this last release from black tent press.

Dirk Knibbe

UPDATE 09/29/15

This is my final word on the matter.

Sunday, September 13, 2015

Kommisar Hjuler und Mama Baer und Arvo Zylo und Heathen Harvest review mit Fecalove

Now available from Psych.KG, a collaboration between Arvo Zylo & Kommissar Hjuler und Frau split with a collaboration between Conrad Schnitzler & Gen Ken Montgomery circa 1987!  Some really nice piano/synth/field recording juxtapositions on this one. It is a c60 cassette limited to 30 copies, with a full color Kodak j-card of the lovely Mama Baer apparently standing in front of a clothing store littered with garbage!  KH + MB did a short rendition of segments from the classic Jane Fonda film, Barbarella, and I did the soundtrack.  For me, this is a return to quasi-insane musical form on my sequencer...  true soundtrack elements, with plenty of experimental, almost musique concret mannerisms.  This is a fun recording.  They sent this material to me two years ago.  I finally got to it this summer.  

In other news, Heathen Harvest reviewed something I sent to them about two years ago, incidentally, and it is reviewed by none other than TURGID ANIMAL label head and filth connoisseur Nicola Vinciguerra (Fecalove) himself.   This is my collaboration with Dental Work entitled "Velcro Bismol", one of my prouder releases, and certainly among the proudest of collaborations.  Heathen Harvest works very hard to keep certain facets of lesser known experimental music and (industrial) noise vibrant, and I appreciate them for it.  

A snippet: The entire CD-R alternates between heavy, rich, and absurdly loud harsh noise tracks like the aforementioned opener, ‘Rehab Artist’, and more laid-back, deranged, and hypnotic loop-centered ventures into old-school industrial cut-up music. And indeed, what Arvo Zylo seems to be best at is finding the right chunks of sound to loop and exploit ad nauseam, while celebrating what seems to be a genuine passion for old Nurse with Wound and NONrecords.

I do have a passion for the aforementioned, but as I have said many times, my influences begin and and end with COIL and FOETUS.  If it weren't for them, I wouldn't have continued.  I go with my gut entirely, but it's not bad company to be compared to at all.

Thursday, September 3, 2015


The short:  Tonetta is a 66 year old recluse who's been making  home recordings, often augmented with performative videos, since the 80s.  His music is some of the most raw and catchy pop-funk in existence, and certainly the most sleazy.  While it's incredibly melodic, there's also an oddness to it, an otherworldliness to it that makes it clear that it's coming from an absolute outsider without an inner censor at all.  Vulgar and contagious, it speaks for itself.  

The long:

Ladies and gentlemen, please allow me to present my favorite artist of this century:  TONETTA is the alias of one Anthony Jeffrey, age 66, Toronto, Ontario, a self-taught musician who claims that he (according to interviews) stopped listening to music when John Lennon died in 1980.  He was also divorced around the same time, and took to a resolutely reclusive life.  For the last 30 years or so, Jeffrey's been making music on his Fostex 8 track recorder, and gradually performing in front of a camcorder or eventually the modern equivalent.  At the advent of online resources such as Youtube, Tony began paying people to upload his work for him, and became something of a "viral success".  He doesn't have a computer, internet connection, cell phone, or bank account to this day.  

His videos had evolved over the years to incorporate dressing in drag at times, or at other times, odd (full body) make up, masks, and costumes, with a series of decorative curtained backdrops in his apartment.  The nature of most of the music is absolutely sleazy.  The omnisexual, unrepressed, and unresolved nature of it would make Prince blush.  Tonetta has become not only an alter-ego, but an alternate outlet for sexual repression, and if what Mr. Jeffrey says is true, the songs seem to write themselves.   Contrary to most "outsider artists" or home recording artists, Jeffrey is also an extremely talented musician, but with very little beard-scratching, meandering, or self-conscious naval-gazing to be found.  Most  of the songs, he says, are done in one take, and he does two or three a day; A kitchen-sink aesthetic for sure.  A couple of them go on while the phone is ringing in the background.  I have been saying for years, that while young bucks are gazing into the omnipresent haze of glowing screens, somehow the old folks are showing people how to let loose, and somehow weave the idea of dancing in drag to their own music on youtube into a groundbreaking genre.  

 At times, it seems like many of these songs were written to the same drum machine pattern, at the same bpm, and remnants of a certain string of ideas wrapped around a single beat can be found.  I focused on what seems to be a period that incorporated a mid-tempo, funky drum phrase, a children's keyboard, and what seems like body slapping as alternate percussion.  Other times there are several tracks with a cowbell, and faster pacing.  Some of them were written in the moment, just little thoughts that translate into catchy songs, for a sort of self-sufficient and fun, yet bizarre and lonely narrative that altogether comes off as otherworldly and almost disconcerting.  The songs range from sexist, self effacing filth, to lovelorn and lost sweetness; both have a melody so catchy that it almost makes you ashamed of getting such perverse lyrics stuck in your head.  People report finding one of his videos and ending up in an odd wormhole, watching as many as they can all night.  

Tony has proven to be a flagrant liar, and when I initially thought he had been ripped off by other labels, I think more likely that he is an attention starved neurotic.  Here is one of the label's testaments.  Here is mine.

  When I spontaneously decided to call Tonetta on the phone at 3AM, he had an old-fashioned microcassette driven answering machine, and after he screened the call, he picked up right away.  Not a man of many words, he explained when I offered,  that he can only take money through Western Union, and asked if I think I can sell cassettes (Ay?), and I said yeah.  He said "Well, good luck." still shy, and maybe unaware of how much water he draws.   Early on, the explicit nature of his videos led to his accounts being deleted.  He thought that he might get less negative attention if he had a female name on his youtube account, so he named his next one "Tonetta777", followed by a series of others.  Dozens of people flocked to repost his videos to keep them alive...  lots of Silence of The Lambs references were made...  and something of a phenomenon began, over 5 years ago.  

I am pleased to announce that I have spent months compiling my favorite tracks by Tonetta, and it is being released on a pro duplicated, imprinted cassette with a double-sided, 8-panel fold out j- card featuring Anthony Jeffrey's surrealistic, vivid illustrations.  It's 90 minutes, and it could have been twice as long.  This is an authorized, shrink-wrapped release, and the artist was paid in advance*.  28 tracks in all. 
  Limited edition of 100 copies. *more than half of which were burned. 

*I have ceased the sale of these copies, I burned them.  More information can be found HERE.

Monday, August 17, 2015

Transitory Reflection

On November 1st, in collaboration with Tritriangle, I'll be conducting a sort of serialist musique concrete sound installation, and I'm having an open call for participants.  I'm looking for Chicago residents to record a segment of their ride on an "L" train.  Bonus if you can also record video, and it doesn't need to be of other people, it could be out of the window, your reflection, etc.   Participants, or "Passengers" would ideally be able to play music tracks on a device with headphones/earbuds and also their recording of the train on command.   Segments of the piece will be amplified, while others will capitalize on the acoustic value of earbuds going at once in the space.  There will be two performances of this, 20 "passengers" each performance.  Interested participants can email me at nopartofit AT gmail dot com.   This will be part of Chicago Artists Month, and will be promoted considerably.  Participants will be credited in a program distributed at the venue, Tritriangle.

Also, I did an interview with the podcast "Undressing Underground", co-hosted by Rob M, a friend I made  who also interviewed me at Indiana Noise Fest.  It will be aired tomorrow night after a bit with Shotgun Seamstress.

Monday, August 3, 2015

Radio remnants and a review

Illusion of Safety "Surrender"

We spent a collective 8.5 hours at WZRD on 7/13/2015-  Sarah Moskowitz, Mike Krause, Lidia Vomito, Bryan Chump Change, and myself.  Here is a document of that madness.  Metal, synth-pop, punk, outsider music, experimental, ambient, shoegaze, soundtracks, industrial, noise, synth soundscapes, gamelan, latin pop, prog, rockabilly, novelty, doo-wop...   some fine freeform programming, if I may say so myself.

My scheduled appearance on WNUR with Dan Burke was not to be, but I did find a Memory Waves Transmission review of Illusion of Safety's "Surrender", which was released on no part of it, and may be the last release with the now defunct Illusion of Safety moniker.

Here's  a short blip:
Surrender is a great return to the genre for Illusion of Safety, a release that finds Burke switching expertly between forms of noise for a variety of great tracks. The first side is generally quieter, while Side B opens up for catchy beats, sampling, and a more pronounced sound. Both are good listens, and fans of Illusion of Safety’s work will find Burke has crafted another exceptional record.

Some airplay from my friend Little Fyodor on his Under The Floorboards radio show on KGNU--
From June.  WILT (from Nocturnal Requiem on NO PART OF IT), Architeuthis Dux, Merzbow, Jeff Chenault, and others were included.

Thursday, July 9, 2015

Radio happenings and autohypnosis

Monday July 13th will be a reunion of sorts, as it will feature myself as well as Lidia Vomito & Bryan Chump Change as guests on WZRD with other alumni who were regular hosts/guest hosts/co-hosts on my defunkt Delirious Insomniac Freeform Radio Show.  This will be from 4pm to at least 10pm CST and possibly beyond that.  88.3 fm in Chicago, and streaming worldwide.

In other radio news, long time freeform radio personality, 1st generation industrial cassette culture maverick, and veteran pizza / frisbee enthusiast Daniel Burke has asked me to join him once again for this Sound of Error/Voice of Reason radio show on WNUR.   This will be Thursday July 23rd on 89.3fm in Chicago from 2-6:30pm CST or so.  Dan usually has a one hour long synth segment called "Patchworks" between 5-6pm, and we usually pretty much dismantle the rock paradigm for the rest of the time.  There are others, but here is my first time being a guest with Dan on WNUR, if you want.

And one more thing, a Spaniard label, Mute Sound, released a series of CDRs called "Autohypnosis", these are compilations featuring one minute tracks.  You can hear and download my contribution "Upheaval Version 60", to the 28th volume here.  Lots of serendipity going on here.   Speaking of "Upheaval", keep an eye out for an entire cassette of new Upheaval versions at the amazing "luxurious linen/sterling silver ink" label Tymbal Tapes some time this year.

Wednesday, June 24, 2015

Blood Rhythms aired on Wm. Berger's My Castle of Quiet Radio Show at WFMU!

MY CASTLE OF QUIET is one of my favorite radio shows and one of the things that drags me to the internet again and again.  Wm.  has aired the Blood Rhythms LP once before, and he's now aired it a second time, this time with an excerpt from Side B.   Also played/highlights were Night Terrors, Night Bitch, Nightstick, Ash Pool, Peste Noire, DDAA, and Circuit Des Yeux.

Monday, June 15, 2015

"Assembly" reviewed at Heathen Harvest

The hardworking team of Post-Industrial torch-bearers over at Heathen Harvest kindly produced a fond review of the recent Blood Rhythms LP "Assembly".  The full review can be found HERE.

I’ve purchased noise tapes that have been nailed to planks of wood, unlabeled floppy disks, painted mini-disks, and CDs whose cases are covered in some sort of plastic goo. Even among these nihilistic competitors of packaging, Blood Rhythms’ Assembly stands out for its intensive craftsmanship (in the most appropriately filthy way) and calls back to earlier days of underground experimental music.

The record’s multi-directional recording foundation demands a beautiful sound-system in order to take in the full experience of the industrial decay that Arvo Zylo has pressed to vinyl. However, I suppose playing the record over the PA of an abandoned warehouse would work just as well. The rusted conveyor belts and creaking meat lockers of Chicago still lord over American noise music.

Friday, May 22, 2015

Transistor Recording

For those interested, the live recording of my live soundtrack to a segment of the 1925 silent film version of  The Wizard of Oz at Transistor is now available HERE.

Finally there was a satisfactory incarnation of this piece, without power outage, blown speakers, or burnt bulbs of any kind.  Thanks to Andy at Transistor for letting it happen.  

Good Stuff House was also excellent to share a bill with.  

Thursday, May 21, 2015

Arvo featured in the Chicago Reader's "In Rotation" this week!

photo of COIL by the late Peter "Sleazy" Christopherson, from his book of Photography 

I am very pleased to announce that after months of carefully dancing words around in my mind every time I listened to something, my contribution to the Chicago Reader's IN ROTATION is finally here!   Copies will be around news-stands all over Chicago for the next week!

The Chicago Reader's benevolent staff writer, Leor Galil, asked me to write down three things I'm currently obsessing over, and then pass it on for someone else to do the same thing.  I passed the torch to my friend Sarah Moskowitz, who had made regular appearances on my old Delirious Insomniac Freeform Radio Show, and is now a regular DJ at WZRD.  She's always had some of the best and diverse tastes I've known, and I think what she came up with is great.  

Leor first interviewed me for an article on "deliberately obscure" labels some months ago.  He's also written articles on Record Store Day, recently departed Chicago superfan Ray Ellingsen, and that Mafia/Murder expo whose name I can't remember, among many other things.  Check out that Dennis Larsson album if you can!  

Thanks to the Chicago Reader!

Sunday, May 10, 2015

New review of Sequencer Works from Traumatic Static

I will have copies of this tape with me at TRANSISTOR when I do a set on May 15th, for the record.  
Here is a rather freewheeling and excitable review of the new tape on OUT-OF-BODY RECORDS.

Many thanks for the detailed writing!  Some choice excerpts:

I swear to God I feel 
like I can hear colors and see sounds after this one.

I can't remember the last
time a release has left me with my jaw dragging on the floor and my eyes bulging
out of my head like this one has.Don't even get me started on how my ears reacted
to this shit.Too late, I've already started.  The A side contains a single track 
of brain melting music that feels like a sexual assault on the senses...And like a
whore working the streets to pay for her next fix, you'll find yourself completely
hooked on this shit

This whole thing is just bizarre but totally addictive.
Off tempo music that sounds like something between a school marching band and a gypsy
caravan is heard for a while until heavy synth bass blasts like a fog horn over ghastly
graveyard ambiance.Sorta sounds like it could have been in the movie Creepshow at times.

Thursday, May 7, 2015

Arvo's Sequencer Works played at Words On Sounds Podcast

Scott Scholz's Words on Sounds blog used to be an excellent review site, which has now morphed into a podcast.  Scott used to have a radio show which was not archived in any way, so it's really nice to see that he has moved on to being a podcast.  Generally, Scholz has a great taste for what he'll call "creative" music, where it is tied by only the single strain of being "experimental", and otherwise diverse without the meandering aspects associated with the genre, often with particularly innovative uses of melody.  I'm always thrilled to be aired in the company of the artists he plays, and in this case, my recent cassette on Out-of-Body Records was sampled among other artists such as Crown Larks, who recently played an excellent show at the Empty Bottle here in Chicago, as well as Wei Zhongle, Invisible Things featuring Mark Shippy of U.S. Maple & a member of Parts & Labor, Corpo Mente, Millions, and some other things you've probably never heard of.  Scott has also recently started a cassette label called Tymbal Tapes, packed with stainless steel ink on "luxurious" linen.

Tuesday, April 28, 2015

Live Silent Film Accompaniment May 15th at Transistor

May 15, 2015
Friday night live at Transistor: layering/repetition-obsessed noise artist Arvo Zylo and backwoods avant-garde from Good Stuff House, 8:00 p.m. Free, BYOB.
For this Transistor performance, Arvo Zylo (Blood Rhythms, NO PART OF IT LABEL, chronic freeform radio DJ, freelance sound writer) will perform a soundtrack to a segment of the 1925 silent film version of 'The Wizard of Oz.' Says Arvo: 'I initially brought the silent film version of 'The Wizard of Oz' on a random gut feeling, to accompany a piece for two sequencers in 2012 at ENEMY. We randomly picked a segment of the movie, because I've always loved the imagery (and hated the music) to the film. What happened, I felt, went perfectly to the scenes where Dorothy is being kidnapped. I later found symbolism that doesn't quite catch on in the Judy Garland version, a much more grim prognosis for the life of Dorothy, and decided to progress with the material to make it even more fitting. I have yet to perform it again in Chicago [since 2012], but when I have tried it out of town, there has always been some mishap or shortage. I will try it one more time.'
'I've been making experimental music that wavers around but is undeniably anchored in the vein of industrial noise. I work under my own name as well as under the collaborative umbrella moniker Blood Rhythms.
I started out having no previous knowledge about experimental music, with a primitive sequencer, where I'd destroy presets and cause malfunctions as a primary source of compositional inspiration. My work has evolved to fetishize extreme layering, repetition, raw material action, feedback, human sounds, and naturally abrasive elements without the use of effects pedals.
I've toured the Midwest numerous times, as well as being featured at Denver Noise Fest every year since 2010, and also Dead Audio Fest in Houston (2010), St. Louis Fest (2010), Heavy Focus (Minneapolis, 2010), and am scheduled for more in the future. Radio stations I've been interviewed or featured on include WFMU (New Jersey), WZRD (Chicago), and WKCR (New York).
In terms of recorded output, I have done split releases with GX Jupitter-Larsen, Le Scrambled Debutante, TOMB, and Death Factory. Some of my releases have been produced by such outfits as Locrian's private label Land of Decay, Banned Productions headed by AMK, Phage Tapes, Spleencoffin, Enemata Productions (headed by Rick from Infirmary), and others.
Visit Arvo's website[Above photo by Dana Day.]
Good Stuff House is Mike Weis (Zelienople, Kwaidan, and solo), Matt Christensen (Zelienople, Enemy Chorus and solo) and Scott Tuma (solo, Souled American, Boxhead Ensemble). This trio formed in 2006 to release a limited CD on Time-Lag Records in 2006, which was reissued on vinyl, cassette and download in 2013 on the Texas label Holodeck. The trio followed up this debut recording with an album called 'Endless Bummer' on the San Francisco label Root Strata. The band has been a side-project of sorts for each member, so live performances are few and far between. After a three-year hiatus, GSH returned for a string of shows in 2014. This performance at Transistor will be their first outing in 2015. The set will consist of three different arrangements from each individual. Christensen will play guitar, Tuma will be on guitar, vocals and harmonica, and Weis on percussion. Critics have characterized GSH as 'ambient folk', 'Americana-drone', 'hillbilly drift', 'the intersection between dusty country and ghostly ambient,' and 'backwoods avant-garde.'


Monday, April 27, 2015

Bryan Lewis Saunders & Arvo Zylo Pleasure Tunnel/Temple of Paradise reviewed on Memory Wave Transmissions

The Pleasure Tunnel/The Temple of Paradise is an intriguing listen from start to finish, and there’s a lot of things worth returning to in this package. Both artists have notes about the making of this tape, as well as a full transcript of both channels of Saunders’ dreams. It means spending time reading each transcript, allowing the noise to envelop in the process – perhaps then, one can very nearly enter the dreams of another.  MORE HERE.

Monday, February 23, 2015

Sequencer Works Volume 1 available for pre-order on Out-of-Body Records

Sex & Violence & Transfiguration

If you see Terminator 2 or the solo noise artist FILTH, who also operates the OUT-OF-BODY RECORDS imprint out of Denton TX, you can pre order a copy of the first volume in a series of "Sequencer Works", which is due to come out in March.  Terminator 2 was on tour this month: incredible stoner/doom metal with heavy electronics and earnest Sabbath riff wizardry coming solely from a distorted/heavily effected bass.  Maybe they still are on tour, and I got to see a prototype of what this tape will look like.  It comes with 2 transparencies of a bluish tint that were taken from actual x rays for children with adult teeth growing in.   It also comes with liner notes.  O-O-B is a stellar label and I'm happy that out of all of the billions of audio wankers out there that there are people who wish to spotlight my material.

I have said before that I started out trying to make music, and then started extrapolating on the mistakes/malfunctions instead of getting better at music, with a Yamaha RM1x sequencer.  I've also said that I can do a Muslimgauze with the amount of unreleased material I have created with my sequencer.  I probably won't though, I will  probably do three volumes of the stuff that has been bothering me that it is not out.  Such is the case with Vol. 1, it is material that didn't have a home or didn't exist as a limb of any kind of creative / corporeal audio body, but it bothered me that it didn't see the light of day.  This label is perfect for it.   This release is all out-takes from the release "333" which took me 6 years to be happy with.  Specifically, it is material that stood well on its own to me, and simply didn't fit the abstract concept I was going for with "333".  Taken as a whole, it is a snapshot of my little journey in unraveling musical structures and enjoying the debris more than the model.  I hope it sells out in 3.33 minutes.  Thanks again to Rob for doing it!

Sunday, February 22, 2015

Show May 15 at Transistor / Ghost Box Comp / Le Colibri series

I'll be performing a live soundtrack at Transistor on May 15th.  Excited to perform this multimedia bookstore / screening / performance venue.  

I have contributed a track to a large comp for my friends at Ghost Box Radio, a great institution for dark ambient music.  The comp is called Telephone to the Dead and also features Matthew Schultz (Lab Report), Atrium Carceri, Mystified....  63 artists in all.  

Also, at the beginning of every year for the last 7 years, I have been part of an extensive and highly conceptual net comp series inspired by Carl Jung's "Red Book" called Necktar.  This volume features 128 artists (and a remix created from the material).  This series intends to be complete in 2017.

Friday, February 13, 2015

Short, outdated interview + screenshot + airplay

There was an interview going for a while... a year or two ago...   for a zine that I guess is not happening anymore, but I just found some of our exchange published at Centipede Farm. Thanks! And below is another proud moment worth documenting...


An excerpt from "Falling Tower, Terrible Fountain" cassette on Side of the Sun Recordings was aired on WFMU's My Castle of Quiet, thanks to Wm. Berger!  Also on the move was GIDIM, Enslaved, Electric Eels, and Electric Funeral, Bludded Head, Ennio Morricone's improv group, Faust, and John Carpenter!

Falling Tower was also exhibited a couple of times by Little Fyodor on his Under the Floorboards radio show on KGNU.  This is a show for somewhat willfully obscure artists, where only material that has been submitted is played.  I had dinner with Little Fyodor and Babushka in December, and gladly gave them the recent output of what I was up to!  Good people.

Friday, January 30, 2015

Reviews in Vital Weekly


ARVO ZYLO - FALLING TOWER, TERRIBLE FOUNTAIN (cassette by Side Of The Sun Recordings)
Before playing all of this I read the press message, typed on an old fashioned typewriter, and was charmed by the fact that No Part Of It, 'does not operate as a merchant on the worldwide web. Money orders and mail boxes only'; there are 200 copies of this record, one hundred available by No Part Of It and the other hundred from RRRecords, all with handmade covers of collage like material. It looks all a bit noisy, but here's the more interesting part: 'the debut LP finds five people (Bruce Lamont, Dave Purdie, Brian Klein, Andy Ortman and Arvo Zylo) in a neat locker with mostly untrained brass instruments (I am copying here - FdW) and a 15 foot long tube, with directional recordings happening in each corner. The recordings were then cut into hundreds of layers and loops, and juxtaposed to 

excessive degrees' - now that's something I find interesting. The insert says - printed - that one side is to be played at 45 rpm and one at 33 rpm, but handwritten, maybe because someone later on suggested such a thing, 'playable at any speed', always something I like very much. There are no blood rhythms to be found on this record, but the two sides are quite different. Of the two, 'Cutter Magnolias' is the louder piece, with recognizable, shorter loops, which seems to be amass to a lesser extent than the piece on the other side, 'Coarse Land'. This means that 'Cutter Magnolias' is the noisier piece, and 'Coarse Land' is very quiet. The latter is an almost Phill Niblock exercise in slow monotone sounds, swarming around like a giant mass of drone like sounds. An excellent piece of music. 'Cutter Magnolias' is a fine one, though, perhaps, a bit lesser of the two but it had an interesting, direct in your face approach, even a rhythmical aspect to it all. A great record by all accounts, and you should get at least two copies so you an spin them at the same time at different speeds, and further enhance the mass aspect of this. Great 'noise'.
It made me all the more curious about the two cassettes. The first is by Arvo Zylo solo and has two sidelong pieces. Here we find him in a more much noise mood, noise in the traditional sense of 'harsh, unpleasant, machine like' music, at least much of the tape. 'Falling Tower' starts out interesting with tape manipulations before landing in noise land, while the other side does this in reverse. It starts out noise based and then goes very quiet. Now, I don't mind a good bit of noise, and the LP already convinced me that Zylo has some fine tricks up his sleeve, but maybe this noise goes on too long, without an interesting interjection. The quieter bits are much more interesting and show an interesting way of manipulating sounds using the same crude techniques, but without exploding necessarily into a wall of power electronics. A somewhat crude tape with some fine moments. 
The other cassette is a split channel release (again! See also the top of this weekly) with in one channel sleep/dream recordings from a lung infected Bryan Lewis Saunders (who by now has a lot of releases which include his dream material) and Zylo on the other. The inside cover has a transcript of these dreams. This is another of those more conceptual recordings which you can easily dismiss as 'rubbish I can do too', but which I think are pretty fascinating all together, especially as there is some sort of electronic manipulation going, which effectively ruins any good night sleep: a motor like onslaught of sound effects takes place, but sometimes these effects are also kept to a minimum. Here I'm lost about the split channel thing. Maybe this is only for the opening section and when the transformations come in the same some process takes place for both channels? Curious enough to know how that worked out. I liked this tape even more than the other one, perhaps because the noise seemed more spaced out and it worked in quite a captivating manner. Great release! (FdW)
Address: No Part Of It - 1002 W Montrose Ave - Box 130 - Chicago, IL 60613 - USA

Sunday, January 18, 2015

Belated Ecstatic Year End Hoopla / new article on obscure labels featured in The Chicago Reader

 WFMU's My Castle of Quiet - December 31, 2014: #249 "Turn Away, Never Ever Look Back" 

I spent almost 3 weeks without going on the internet at all.  

Thanks Thank Thanks to everyone who showed up and especially bought records at the Jan 2nd Show at Club Rectum.  It was unlike any other show I have ever witnessed, and I performed with some amazing people.   Doug Abrams of Black Bear Combo also made a guest appearance on top of the artists already mentioned in the Reader article, not to mention Alejandro Morales of Piss Piss Piss Moan Moan Moan / RUNNING as last minute blunt smoking bonus drummer man!  It was like a fog machine without the fog.   Everybody was stellar.  Thanks to everybody for everything forever.  

AND speaking of the Reader, I have been interviewed for an article on local niche labels, by Leor Galil, and it should be in print next week.  Keep an eye out for it at newstands in real life.
*update-  here is the online version

AND some year end nudges:
First from my friend Scott Scholz and his intensely comprehensive WORDS ON SOUNDS podcast
The "Assembly" LP as well as Illusion of Safety's "Surrender" album is featured alongside Charles Barabe, Liz Albee/Hans Grusel, Pulse Emitter, Mahler Haze, and

Also, a snip of the new Arvo Zylo/Bryan Lewis Saunders collaboration from a later episode:

The Blood Rhythms "Assembly" LP was aired on New Year's Eve by Wm. Berger's My Castle of Quiet / WFMU radio show alongside Dhampyr, Severed Heads, Raspberry Bulbs, and of course Fabio Frizzi among others!  Wm.  is a friend and I'm so glad he's back in action!

Illusion of Safety is also in a year end list of Esoterrorist, whom I don't believe reviewed the album when I sent it, but better late than never!  http://esoterrorist.com/?p=1625

And I think I forgot to mention this 6 month old review of WILT's
Nocturnal Requiem on No Part of It:

These are still available.   WILT will have a pro cassette version in the summer.

And I still have yet to put out newsletters, but my collaboration with Bryan Lewis Saunders is now available!  Bryan recorded 2 different dreams recordings that took place at the same dream location.   He has done dream recordings hundreds of times, and this was the only time he returned to the same location in his dream, so he put the two audio recordings together, because they also happened to have damn near the same length, and he had a severe lung infection at the time so it's doubly weezy.   I did what I could to honor this magical place "The Pleasure Tunnel / The Temple of Paradise", and it comes on pro cassette with 2 colors on no liner shells, a full color double sided 5 panel J card with transcript, and is a c40 or so on Chrome tapes.  $7ppd USA / $15 Elsewhere

Bryan and RRRecords should have copies available NOW if you don't feel like sending me a money order.  

Until next time....

Thursday, December 25, 2014


"oops wrong year"

Read the primer for the show in The Chicago Reader, including a review of the new "Assembly" LP here.
Photo credit: Christine Kozol, with thanks to Chris Turner.

To get the address of the venue....

Please email clubrectumchicago [at] gmail [dot] com to be added to the monthly mailing list where you can be informed about all the upcoming shit happening here. Thank you.

Facebook event  page

"Assembly" was aired (and I'm told is considered one of the top albums of the year) by Scott Scholz on his WORDS ON SOUNDS podcast.

Recent Guest DJ appearance on WZRD here.

Thanks for reading/listening!

For the record, it seems like Montoro listened to Side B first, but other than that, I couldn't have imagined a better review, much less written one myself!

...this show is a release party for its debut LP, Assembly, a joint effort by Zylo’s No Part of It label and venerable Massachusetts experimental imprint RRRecords. Zylo assembled its music from as many as 66 simultaneous samples of brass and woodwind instruments played by himself, Bruce Lamont (Yakuza, Bloodiest, Corrections House), Dave Purdie (Silver Abuse), Brian Klein (the Machinist), and Andy Ortmann (Panicsville). Recorded in a meat locker on three MiniDisc machines, their improvisations include blowing through a 15-foot pipe and placing the bells of their horns against the metal walls. The album starts out approximating something that a giant refrigerator full of horn players could’ve done in real time, but then hard edits and obvious looping and layering kick in, transforming their output into something like an industrial beat. Zylo applied no effects to the stacked tones, but they sometimes sound like an electric piano or accordion, a Dremel tool on glass, a steam vent at a steel mill, or a close-miked vacuum cleaner—at their peak, they could pass for the stampeding offspring of a wildebeest and a locomotive. The other side is lush and meditative, its ambient shimmer and howl suggesting bowed cymbals or far-off leaf blowers and floor buffers; drop its playback speed from 45 to 33, and it sounds like a church choir of whales.

Wednesday, December 10, 2014

Release party Jan 2nd at Club Rectum / photos of some of Ron Lessard's "Assembly" covers / guest DJ on WZRD Monday




Blood Rhythms will feature at least 4 drummers with me, doing a configuration I've wanted to do since I was 19.  The debut of Blood Rhythms was actually myself with the entire band ONO in 2010, so it's important that they're here for this special day.  I believe they will do a stripped down incarnation this time, because their 2 drummers are working with me!   ONO are always captivating and somewhat magical.  I never get tired of seeing them play.   I have interviewed ONO and travis the vocalist alone on 2 separate occasions and their first album "Machines That Kill People" (1981 or 83, not sure off hand) is among the very few perfect records in my collection.  It is an finely balanced amalgamation of experimentation and rawness with focus of intent and conceptual continuity.  Their two most recent records on Moniker records are not too shabby, either. 

And onward to two artists, Neil Jendon, and Vertonen, whom I've ridden with to play respective fests out of town, but I do not believe I've actually done a show with them in Chicago!

In 2010, Neil Jendon and I performed at STL Noise Fest.  His recent work with theremin coupled with modular synth has been incredible!  Every set has had a carefully crafted sonic tapestry and a shifting settlement of decorum often anchored around a modular synthesizer, which I'm under the impression might be temporarily retired, so expect something new and exciting from this veteran artist, whom I've seen play a gazillion times, and never been disappointed.   Jendon is also known as the synth dude in Kwaidan with Andre' Foisy of Locrian, and percussionist* Mike Weis of Zelienople.   Jendon has a CD on Vertonen's C.I.P. label, and a collaboration with legendary Italian noise act SSHE RETINA STIMULANTS out on Chicago label Bloodlust!.

Vertonen and I shared a bill at Minneapolis's Heavy Focus fest in 2010, as well as sharing a bill at STL Noise Fest in the same year.   The thing about Vertonen in Chicago, is that his local sets are often 5 minute long sets of deep ripping harsh noise, often based off of a jaloppy of a turntable that looks like some kind of 1960s military grade play school record player.  However, I've been told that Vertonen's Blake Edwards (formerly the junk player in Anatomy of Habit) is going to audition some new material which represents a significant change in direction.  Edwards has been impressively prolific in recent years, having done a picture disc with Ratskin records which is composed entirely from sounds that were recorded personally at various factory facilities, and in no small way give a deeply respectful nod to VIVENZA that puts him on a similar plane of existence as an artist.  Some of his sets out of town have had a gnarly Russian synth which he has exhibited in a number of releases with different configurations, and in collaborations with Washingtonian dadaists/surrealists At Jennie Richie.   That and an LP inspired by the depths (and heights) at which a person starts to go insane from lack of oxygen, topped off by a number of collaborative recordings with Eric Lunde (Boy Dirt Car) as well as Ohio cassette tape manipulator Jason Zeh, and in general a dense output of diverse, highly conceptual, high quality releases  since 1993 or so means that this artist is definitely a guy to show up early for.  

 Blood Rhythms have a debut LP out featuring Bruce Lamont, Andy Ortmann, Arvo Zylo, Dave Purdie, and Brian Klein. It is co released between Arvo Zylo's "no net label", NO PART OF IT, and legendary noise label RRRECORDS. Limited to 200 copies (with some overflow), 100 covers are assembled by Ron Lessard with source material mostly from medical books....  in his inimitable fashion (examples below). 100 covers are assembled by Arvo Zylo with volumes of a 1929 encyclopedia, and various debris including sandpaper, sheet metal, plexi glass, varnish, razor blades, washers, and so forth. 

 (Samples can be found here, most of which have specifically been spoken for) 

$15 ppd USA for Ron covers 
$23 ppd USA for Arvo covers 
International shipping please inquire. 

 1002 W Montrose Ave Box 130 
Chicago ILL 60613 USA 

Money orders / hidden cash at your own risk only, to the above label address. 
Only around 60 correct copies remain in my possession altogether, at this time. 
If RRR is out, check Revolver distribution. 

 Audio excerpts:



 The LP, titled "Assembly" is comprised of source material assembled in excessive amounts of layers from a session of brass and wind instruments inside of a meat locker, also with a 15 foot long tube. Recorded with 3 different mini disc recorders in the corners, Arvo Zylo piled on loops and sidereal tidbits to the point where, at moments, the listener may hear voices that are not there, and at other moments, it sounds like a train crashing over and over. 

 Playable at all speeds. 

 On January 2nd, there will be a release party for Blood Rhythms, which is a revolving collaborative umbrella moniker for Arvo Zylo to curate. Last time, at the Empty Bottle in support of DEAD TECH (Illusion of Safety meets Mitch Enderle), Blood Rhythms featured travis from ONO, Mike Weis of Zelienople and Kwaidan, Chris Turner of Nookleptia, and several other brass players accidentally going for 75 minutes without notice while travis bellowed effected stream of consciousness/free association vocalisms without wavering. This time it will be different.

I will be on WZRD Monday night as a guest DJ some time between 4 and 7pm.  I will be playing selections from artists playing the release party, among other favorites and recent acquisitions.

 Below are photos of covers by Ron Lessard, the (less than 30) remaining covers are hand stamped in addition to having an insert which is hand stamped 5 times, hand numbered, and has a hand written "PLAYABLE AT ALL SPEEDS" message.  I decided to take photos inside rather than waiting for a time where I woke up before dusk to do it. Going quick!