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  REVIEWS: STROTTER INST. - MINENHUND  
     
 

• Rifraf, May 2009
• Orkus, May 2009
• Stereo & Video, May 2009
• www.audiodrome.it, May 2009
• Ox Fanzine, April/May 2009
• www.goddeau.com, 29 April 2009
• Foxy Digitalis, 1 April 2009
• Rock-A-Rolla, March/April 2009
• thesilentballet.com, 29 March 2009
• www.terz.org, March 2009
• D-Side, March 2009
• http://theonetruedeadangel.blogspot.com, March 2009
• France Musique, March 12, 2009
• www.darkentries.be, March 2009
• www.losingtoday.com, March 2009
• AEMAG, http://virb.com/aemag, February 2009
• www.loop.cl, February 2009
• www.earlabs.org, February 2009
• The Sound Projector, February 2009
• Vital Weekly 620, February 2009
• Playlists

  
     
  Rifraf, May 2009  
 

 
 
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  Orkus, Thomas Sonder, May 2009  
 

 
 
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  Stereo & Video, May 2009  
 

 
 
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  www.audiodrome.it, Fabrizio Garau, May 2009  
 
Strotter Inst. è dal 1998 il progetto di Christoph Hess: i suoni di ogni suo disco sono creati manipolando e modificando vecchi giradischi della Lenco, tanto che - grazie all'impatto visivo di questo equipaggiamento autocostruito - una sua esibizione live può essere vista in parte anche come un'installazione per gallerie d'arte.

Christoph Hess/Strotter Inst. non è avvicinabile a turntablists come eRikm, dato che qui non esce musica - per quanto distorta, spezzata e quant'altro - da dei vinili, piuttosto Hess sembra un pioniere dell'industrial intento a suonare oggetti, solo che nel caso specifico si tratta di qualcosa che in origine ha già un rapporto con la musica, anche se tale rapporto viene in un certo senso stravolto. Alla fin fine, Minenhund è come un gigantesco meccanismo che si mette in moto a pieno regime per quattordici volte, tante quante le tracce in esso contenute. Bisogna immaginare tutti questi giradischi "truccati" venire messi in loop uno alla volta, con Hess che poi utilizza qualche effetto, nastro o campionamento vocale per
dare qualche sfumatura in più all'insieme. Si può pensare a quattordici orologi costruiti da un pazzo, a motori per macchine
mai inventate, il tutto calato in un contesto rugginoso e da Rivoluzione Industriale, più che - per intenderci - in uno algido e
asettico da Rivoluzione Digitale, come mostra l'eccellente artwork del disco, con la foto dei "Minenhund" del titolo (la rozza
traduzione "cane da miniera" rende benissimo l'idea). Un'esperienza ipnotica e bella cupa per gli amanti del primo industrial e per chi si lascia affascinare dagli incroci tra discipline artistiche.
3/5
  
 
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  Ox Fanzine, April/May 2009  
 



 
 
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  www.goddeau.com, Jurgen Boel, 29 April 2009  
 
Dat platenspelers meer kunnen dan zomaar plaatjes afspelen, hebben inventieve dj's de laatste twintig jaar al meermaals bewezen. Turntablists, zoals ze gedoopt werden, hanteren en manipuleren hun platenspelers en platen zodanig dat ze er in slagen iets geheel nieuws te creëren. Maar voor de Zwitser Christopher Hess gaat dit nog lang niet ver genoeg.

Onder de naam Strotter Inst. heeft Hess enkele Lenco-platenspelers (Technics zullen te duur geweest zijn) zowaar omgebouwd tot instrumenten waarbij de rubberen band, de speelarm of de naald gebruikt worden om nieuwe geluiden te maken, die daarna door verschillende effectpedalen gejaagd worden om zo een nieuw geluid te creëren. Het gevaar bij dergelijke doordachte (of vergezochte) constructies is dat het idee sterker is dan de uitwerking, maar op Minenhund weet Hess die klip vooralsnog te omzeilen.

De belangrijkste reden daarvoor is dat Hess niet zozeer abstracte soundscapes of minimale geluidscollages op zich tracht te maken. Want ook al vallen de veertien titelloze songs daaronder, het mag duidelijk zijn dat Hess' achtergrond in de industrial music schuilt. Een tekenend voorbeeld daarvan vormt het achtste nummer dat door een dreunend, regelmatig ritmepatroon wordt voortgejaagd. Ook het zesde nummer kan zijn industrial achtergrond nergens verbergen, song nummer drie lijkt zelfs meermaals naar Front 242 geluisterd te hebben alvorens de IBM daarvan van zijn laatste franjes ontdaan te hebben en met het exoskelet aan de slag te gaan.

Ondanks een minimum aan middelen tracht Hess de nummers zo divers mogelijk te laten klinken, de pulserende dreiging van het derde nummer bijvoorbeeld lijkt in niets op het krakkemikkige en schurende vijfde nummer of het vibrerende nummer zeven. De "ambient" van nummer negen en tien laat horen dat Hess van meerdere markten thuis is, al is er dan doorheen de hele plaat een rode lijn hoorbaar. Het meest opmerkelijke hierbij is dat dit in de eerste plaats aan de "muzikale" invulling ligt en niet aan de "gekozen instrumenten".

Wie geen weet heeft van de omgebouwde platenspelers kan niet zomaar raden waarmee Hess aan de slag is gegaan. Daarvoor bewerkt en manipuleert hij de geluiden te veel. Het dertiende nummer is een van de weinige songs die een tipje van de sluier oplichten, al is het dan vooral omdat het herinneringen aan Kid Koala oproept. Bij de andere nummers heeft iedereen er het raden naar, zo anders klinken ze.

En toch is het album niet over de hele lijn geslaagd, al ligt dat niet aan het talent van Hess zelf. Zoals de meeste ruisplaten verdraagt Minenhund immers geen tweederangsrol op de achtergrond, maar is ze tezelfdertijd te grillig om een album lang (zestig minuten in dit geval) de rol van prima donna te spelen. Hoe overtuigd Hess ook van zijn taak blijft, zijn laatste album blijft finaal een buitenbeentje dat alleen op het juiste moment en op de juiste plaats tot zijn recht komt.
 
 
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  Foxy Digitalis, Stephan Bauer, 1 April 2009  
 

Strotter Inst. is the alter ego of a certain Christop Hess, member of the post-industrial band Herpes Ö Deluxe. For his Strotter Inst. albums he spins records on manipulated turntables and digitally alters those results to create a rhythmic dark ambient sound. This translates into something that is sort of a mix between Pan Sonic, Philip Jeck, Otomo Yoshihide and some dark ambient bands. Each track leads into the next one without a break, which makes the entire record sound like one long track.

And actually the rhythmic patterns are pretty similar on each track, sort of pulsating, not straight 4/4, but still similar to a heartbeat. Add to that some of the hiss that you often find on industrial and post-industrial albums, some dark brooding mess always lingering in the background and some distorted vocals and you arrive at a fairly atmospheric, but rather average post-industrial drone album. It sounds a bit more interesting on some tunes, like the 8th one when the rhythm changes a bit and when other instruments like a guitar or bass are actually distinguishable from the rest. Also, track no. 10 is a bit more friendly with birds chirping in the background. However, most of “Minenhund” should appeal mostly to fans of dark ambient and industrial music who already own all Controlled Bleeding and Lustmord and need more stuff like that. 5/10

  
 
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  Rock-A-Rolla, Euan Andrews, March/April 2009  
 

 
 
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  www.thesilentballet.com, Jurgen Verhasselt, 29 March 2009  
 


Ambient, avant-garde, soundscape, post-industrial: four labels that are perfectly applicable to Minenhund. But there is something more to this release than what you'd expect from an album that is bound to be categorized in these niches. A quick glance at Strotter Inst.'s gallery proves that we're not dealing with something that can be classified so easily under such a general musical denominator. Sure, the result of this remarkable Swiss-based sound architecture is an album, but the manner in which the audio is created reminds more of conceptual art. A dark audible mind trip lies ahead for those who do not fear taking a leap into a sonic universe made out of molested vinyl and rebuilt turntables.

My advised setting to take in this hour of charcoal soundbites is absolute darkness and a set of headphones with the volume set just beyond the point that is considered healthy for your hearing. Minenhund translates (freely) as a person who spends his days slaving in the depts of pitch dark mines, so if you have the chance to replicate these conditions in any way, please do so.

The most noticeable thing about Christoph Hess' latest effort as Strotter Inst. is the focus on the use of the turntable as sound creating device rather than as a sound reproducing one. Five Lenco turntables make up the main part of the instrumentation/installation; modified styluses, rubber bands, duct tape and whatnot are used to create the meditative bass and looping rhythms. The consistency of the cascading loops forms the stomping engine that guarantee the blood flowing in the maze of pseudo-industrial rhythm patterns. The novelty of this release is the actual use of a few samples in the form of French gibberish - sometimes awkwardly high-pitched like there was a helium leak in one of the underground chambers of the sonic mine. Some cuts from a marching vinyl (that seem to be slightly out of place in the big picture) serve as a welcome change in the confined sound spectrum that has an overall fatness to it provided by the analog warmth residing in the vintage parts of the installation.

Strotter Inst. managed to combine some noticeable features of fellow sound-explorer Philip Jeck and audible tale creators Xela on this release, and ended up with an epic journey from a dusty surface to mind numbing, almost claustrophobic, depths where one thing is sure - if the listener manages to make it to the end of this challenging ride, she'll be counting down to the next shift of crawling through the rumbling darkness of neo-turntablism.
Score: 7/10

  
 
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  www.terz.org, Honker, March 2009  
 

Hess ist auf das Manipulieren alter Lenco-Plattenspieler spezialisiert. Die mit Gummis, Klebeband und you-name-it versehenen Leierkisten werden durch die Effektkiste geschleift und per Multi-Track geschichtet, heraus kommen 14 relativ rohe und schnörkellose Rhythmus-Tracks, die weniger durch den eher distinguierten Vibe klassischer Turntablisten à la Jeck oder Marclay als vielmehr durch den hemdsärmeligen Industriearbeits-Ethos von Pan Sonic oder der letzten Opel-Bandschicht in Bochum geprägt sind. Das ist dann ja wohl wirklich wahrer Post-Industrial. Strotter performte auf jeden Fall schon neben Europa in Russland, China und - warumauchimmer - Bolivien. Die Welt braucht das halt.

  
 
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  D-Side, Jean-Francois Micard, March 2009  
 

 
 
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  http://theonetruedeadangel.blogspot.com, March 2009  
  Turntable-abuser Christoph Hess returns with a full album of fourteen untitled tracks composed from terse and cryptic experiments in wonky
turntable action. Hess uses old Lenco turntables, which he modifies in various ways to create exotic, repetitive rhythms which are then processed even further with effects pedals. The resulting sound is one of dense, machine-like rhythms and damaged beats, with an aesthetic that owes as much to Steve Reich as to Throbbing Gristle. Despite his extensive use of turntables, Hess is not so much a turntable artist in the accepted sense as an industrial sound sculptor who happens to employ turntables as the main "instrument" in his compositions. The compositions themselves are dark and ominous, and this time around many of them are also leavened with spoken-word bits (some sampled and looped, some left more or less intact) cribbed from cheap records scavenged from thrift stores, giving those tracks the sound of a ghost in the machine. As you might expect of an artist more closely aligned with industrial experimentation than anything else, many of the sounds on this album are harsh and grating, and even in relatively calmer moments, this is definitely not light listening. There's an energy and inventiveness to these tracks that hasn't been seen for a while in the industrial genre, however, and some of the rhythms are even -- dare I say it? -- kind of catchy. By incorporating the aesthetics of minimalism, sound installation artwork, and industrial music through the use of modified equipment used in a manner far different than its intended design, Hess achieves a new and interesting sound that's still rooted just enough in familiar elements to keep it from being totally alien. This is an album that's all about hypnotic rhythms and textured sound, and there are plenty of different textures and rhythms to keep the concept consistently interesting throughout the disc. The overall sound is also warm and clear, with plenty of deep, throbbing bass action. As with everything else on Public Guilt, the packaging is also outstanding; the cd comes in a gatefold digipak made from recycled chipboard and includes a swell fold-out poster.
  
 
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  France Musique, Eric Serva, March 12, 2009  
 
"Beaucoup plus abstrait et industriel est le travail de l'artiste Suisse Christoph Hess qui officie sous le pseudonyme de STROTTER INST. (l'abréviation inst signifiant à la fois instrument ou installation). Christoph Hess utilise d'anciennes platines pour vinyles qu'il modifie sans limite pour, dans un premier temps, créer des textures sonores originale sans aucun vinyle, des textures qu'il modifie ensuite à l'aide d'un ensemble de pédales d'effets. L'excellent label Hinterzimmer qui vient d'éditer son nouvel album intitulé Minenhund, Un album en forme de voyage sonore
dans un univers qui, comme le font imaginer son titre et ses illustrations, nous plonge dans le quotidien de mineurs de fonds à l'intérieur d'obscures galeries envahies de machines, d'obscurité et de vacarme. Un voyage angoissant, éprouvant qui ne reviendra à la lumière et à la sérénité qu'à la quatorzième et dernière plage révélant, derrière la lourde beauté de ses superbes masses sonores un instant final de gravité exprimé par une sorte de fanfare embourbée et, allez!, soyons optimiste peut-être même d'espoir à moins qu'il ne s'agisse que d'un instant de funèbre recueillement."
 
 
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  www.darkentries.be, Jan Denolet, March 2009  
 
Met een album is het soms als met een meisje. Eerst maak je kennis en raak je onder de indruk van de buitenkant. Hierdoor is je interesse gewekt en ga je op zoek naar het meer inhoudelijke van de persoon / het album. Wanneer uit dat inhoudelijke blijkt dat je niet zoveel gemeen had dan waar je eerst op hoopte neem je teleurgesteld afscheid.

De verpakking van dit album mag best wel origineel genoemd worden en de titel belooft een onderhoudend album met eventueel de Duitse
mijnen als inspiratiebron. In de plaats daarvan krijg je het repetitieve gedruis van een aantal 'geprepareerde' antieke draaitafels te horen. Nu heb ik zelf ooit eens met het idee gespeeld om te gaan experimenteren met gemanipuleerde platendraaiers en ik ben er wijselijk nooit aan begonnen. Artiest Christoph Hess brengt het er zeker beter vanaf dan ik ooit had kunnen doen, maar ook nu weet het niet te boeien. Leuk wanneer men de artiest live aan het werk kan zien, maar op CD blijft het -voor mij- niet overeind.
  
 
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  www.losingtoday.com, Roberto Mandolini, March 2009  
 
Minehund sta per topi da miniera. Lo svizzero di Berna Christoph Hess riesuma il suo progetto principale dopo quattro anni di ibernazione. Nel frattempo il successo del progetto parallelo Sum Of R deve aver portato nuova linfa anche in Strotter Inst. La monocromatica ossessività delle precedenti prove si stempera sulle quattordici tracce di "Minehund" in una varietà di soluzioni che colpisce fin dal primo ascolto. Sono piccole variazioni ma all'interno dell'oscurità di una miniera sembrano bagliori improvvisi. Rumori industriali di ogni sorta si amalgamano con i suoni tirati fuori da dischi gracchianti fatti girare in loop su vecchi giradischi Lenco per ricreare l'esistenza claustrofobica dei minehund.
  
 
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  AEMAG, http://virb.com/aemag, February 2009  
 
Christoph Hess kreiert in 14 Stücken einen gewaltigen Fluss endloser Endlosrillenmusik. Sein Instrumentarium ist gleichzeitig mit dem sinnigen Vorsatz versehen, das maximale aus der Verkettung von manipulierten Lenco-Schallplattenspielern und Effektketten herauszuholen. Wahrscheinlich lacht Herr Hess herzhaft über den Einsatz der sonst so allgegenwärtigen Computersysteme, denn hier klingt alles streng nach 33rpm/ und 45rpm-Algorythmik, Loop über Loop schichtet sich zu mal fast diskotauglichen Vierviertelknarzern dann wiederum zu liquiden Droneexkursionen, die man in dieser Form kaum von einem Schallplattenspieler ohne Schallplatte erwartet hätte.

Dass Hess es vermeidet mittels aufgelegter Schallplatten Klänge zu generieren, unterscheidet ihn wiederum von Antimusikern a la Otomo
Yoshihide, die eher mit manipuliertem Vinyl ihre Klänge hervorrufen. Das Schaben des Nadelabnehmers über den metallischen Drehteller und andere zweckentfremdete Apparturen gerät immer wieder zu bildhaften sonischen Abstraktionen, mal an geisterhaft ratternde Webstühle erinnernd (Titel »#3«), dann wiederum an die klangliche Nachbildung eines pflügenden Traktors gemahnend (Titel »#10«), inklusive Vogelgezwitscher und Berglandambiente. Wenngleich erstaunlich in Bezug auf die klangliche Varianz eines unbelegten Plattenspielers, gerät Strotter Inst. fast in die unvermeidliche Grätsche zu Kunstmusik und Installation. Beliebig wird es nie, aber das gleichförmige Multilayerformat aus Loops, die auf zwei Geschwindigkeiten basieren, schüttelt den Kunstcharakter dieses Werkes trotzdem nicht ab. Dennoch, wer seinen alten
Vinylspieler letzt noch entsorgt hat, wird sich beim Hören dieser Scheibe sicherlich ärgern. 4,5/5
  
 
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  www.loop.cl (Chile), Guillermo Escudero, February 2009  
 
Swiss Christoph Hess aka Strotter Inst. also member of Herpes Ö Deluxe, a post-industrial quartet and of Sum Of R. This is his fourth release to date and the first one as Strotter Inst. on the Swiss label Hinterzimmer who is co-releasing the CD alongwith Baltimore’s Public Guilt. The disc it comes in a recycled packaging with a poster inside and the artwork is an old photograph of miners working. I can feel and smell an industrial aesthetic that fixes well with the music. Let say that this Strotter’s album is more multi-layered than his previous works – the modified old Lenco turntables and loops are there and the other materials - rubber bands, records with tape affixed, sewing needles, metal objects, and tapes.

Hess blends electro-acoustic and industrial music with a wide range of textures, pulsing rhythms, punching percussion, theatrical and primitive voices, endless rotated loops, tapes with snippets of sound and all this sonorous amalgam producing abstract but vibrating atmospheres.		  
 
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  www.earlabs.org, Steffan de Turck, February 2009
  
 
"Minenhund", which loosely translates as "Miner Dogs", is the latest work from Strotter Inst. (aka Switzerland's Christoph Hess.) Hess creates music through the use of old, modified, Lenco turntables.

Strotter Inst. (nom de plume for Christoph Hess) uses turntables as his tools for creating the music he envisions. 5 Lenco turntables, to be more precise. For your info: Lenco AG was a turntable manufacturer during the 1950-1980's and originates from his motherland Switzerland. Nowadays, Lenco is in Dutch hands, the brand name that is: since they do not manufacture turntables anymore.

Hess does not handle his turntables in a DJ kinda style, i.e. spinning and mixing records. If he does at all, the records are cut or have tape affixed. His main source of sound is produced via the turntables itself. Hess modifies them into individual sound objects or installations. Using sewing needles as a stylus, applying metal objects, creating webs of rubber bands that in turn are plucked by the stylus and more modifications like these. Leaving some kind of indeterminacy to the movement of sound creation along the way.

Lenco turntables, and some other early brands as well, were known for their so-called "idler-drives": a vertical rotation system that places the motor force directly to the platter via a solid rubber disc (this as opposed to the later belt-driven turntables or direct-drives). Many audiophiles believe that this "rotational consistency" of the idler-drive, translates into impactful bass and rhythmic fidelity.

Hess is displaying these audio qualities very well and no doubt he does this in all his output as Strotter Inst. The tracks on Minenhund have a certain minimalism in rhythmic approach and owe a lot to his background in industrial music, but are warm and dense in sound. The bass sound for one, is so spacious that it'll blow out your mind. I enjoyed this album a lot, from beginning to end, although I suspect that time-wise it might be a bit much for some. (8/10)
  
 
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  The Sound Projector, Ed Pinsent, February 2009  
 
Strotter Inst. is Christoph Hess, the Swiss experimentalist whose turntable work I have heard before in 2006 on a fine 7-inch slab courtesy of US label Public Guilt. Come to that, Minenhund (HINTERZIMMER HINT 05 / PUBLIC GUILT PG017) is a joint release with said label, and it is packed with obsessional, looping noises that emanate so much sheer grunge as to make your eyes waterŠlike witnessing the slow death of an ancient, impossible machine whose gears are made of stale, hardened dough. Hess suggests he doesn't have much in common with the school of avant-garde turntabling (Jeck, Marclay) and is more about the transformation of the actual devices (the old decks are modified with rubber bands, sellotape and conflicting electrical currents) to generate his very-Industrial influenced textures. In this way I suppose he aligns himself to some extent with the pre-war mining equipment and other machines depicted in old photographs on the cover. Fine disc!
 
 
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  Vital Weekly 620, Frans De Waard, February 2009
  
 
Music by Christoph Hess, also known as Strotter Inst has been reviewed before, solo or with his work. Hess uses modified old Lenco turntables, playing with rubber bands, records with tape affixed to it to create loops and rhythms and some effects are also in place. Nothing new under the turntable sun? Well, yes, actually there is. The music by Strotter Inst doesn't sound like Philip Jeck or Christian Marclay, but is more rooted in the world of industrial music on that very crossroad where it meets the minimalism of say Pan Sonic and the early father of minimalist music. Strotter Inst. uses multi tracking for his pieces to create a dense atmosphere for his music. Things bounce up and down and make throughout a heavy, solid sound, but he also knows how to pull back and make a more quieter song, like in '#9'. These are fourteen very fine pieces, but its a bit too much. The good thing about old LP releases was the limited time available and it made musicians, I believe so at least, a bit more selective. 'Minehund' could have benefitted from that too. Maybe at forty minutes this would have been a great release, instead of a good one, with some weaker moments. But otherwise a fine CD indeed.
  
 
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  Playlist Bayern 2, Nachtsession, 13. März 2009, 0.05 - 2.00 Uhr

1. Samm Bennett - Until You Kiss Me (Polarity)
2. Samm Bennett - Demolition (Knitting Factory Works)
3. Samm Bennett - Ain't No Train (Polarity)
4. John Zorn - Design (Tzadik)
5. John Zorn - Orties Cuisantes (Tzadik)
6. John Zorn - 9 x 9 (Tzadik)
7. John Zorn - Ineubi (Tzadik)
8. Beehatch - In Silence, Too Silent (Lens Records)
9. Beehatch - Ostalgie (Lens Records)
10. Mikhail - Archon (Sub Rosa)
11. Strotter Inst.- #2 (Hinterzimmer)
12. Strotter Inst.- #8 (Hinterzimmer)
13. Slowcream - Into Butter (Nonine Recordings)
14. Slowcream - Asymetric Herding (Nonine Recordings)
15. Michael Peters - Relentless Bagatelle (Hyperfuction)
16. Faust - Bonjour Gioacchino (Bureau-B.)
17. Kashiwa Daisuke - About Moonlight (Noble Rrecords)
18. Kashiwa Daisuke - Bogus Music (Noble Rrecords)
19. Enablers - Februaries (Exile On Mainstream)
20. Enablers - Tundra (Exile On Mainstream)
21. The Low Frequency In Stereo - Turnpike (Rune Grammofon)
22. Ethan Rose - Scenes From When (Baskaru)
23. The Drones - Cold And Sober (ATP Records)		  
     
  Playlist Resonance FM 104.4, London (GB), 02.02.2009
1. Our Love Will Destroy The World - Stillborn Plague Angels (DEKORDER 30)
2. Naked on the Vague - Lonely Boys (DUAL PLOVER UQU719)
3. Franck Vigroux and Matthew Bourne - Die Deume (D'AUTRES CORDES RECORDS D'AC 5002)
4. Schlammpeitziger - Prä-Digitaler (RHIZ RECORDS RHIZ#10)
5. Strotter Inst. - #8 (HINTERZIMMER HINT 05 / PUBLIC GUILT PG017)
6. Superoscope - Body Language (MORSE CODE RECORDS)
7. Olekranon - Gaitan (INAM RECORDS 29)
8. Tetragrammaton - Queen of the Ships (JAPAN SUBVALENT SBV 001)
9. Rozenhall - Track 2 (KNING DISK KD029)
10. Dean McPhee - Water Burial (WORLD IN WINTER WIW006)
11. Jasper TX - Not Leaving, Not Really (FANG BOMB FB010)
12. Phillip Jeck - Plays Chris Matthews (TOUCH SEVEN TS01)
13. Yoshio Machida - Feb 24, 2002 (AMORFON YM091)
14. 55 Blues - Beige Pirate (NEIGH MUSIC)
15. Jim O'Rourke - Despite The Water Supply part one (TOUCH SEVEN TS07)
16. Nana April Jun - The One Substance (TOUCH TONE 37)
17. Xela - Gilted Rose (DEKORDER 031)
18. Nestor Figueras / David Toop / Paul Burwell - Cholagogues (SCHOOLMAP, Original issue BEAD RECORDS)
  
     
 
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