This is a place to stash pieces I come across which I like (or admire in some other way), some of which I have bought, others encountered on the radio or elsewhere. We have (or will have):

Wendy Carlos
Jonathan Harvey
Robert Piotrowicz
Dave Vosh
David Westling

The most enjoyable synth CD (in terms of skill, range, interest, musicality, and even presentation) since Carlos W is Twenty Systems by Benge (Ben Edwards).

Wendy Carlos
Jonathan Harvey
Robert Piotrowicz added July 2009
My review on the intro page states, [An early 2009] purchase is Robert Piotrowicz's Lasting Clinamen. A one-word tag would be 'uncompromising': four tracks of [almost unvarying] noise, some too loud, some too quiet. While I like favour the atonal and arhythmic, I prefer something to be happening. The sounds are, to me, drones and I would have had something plinking over the top. I bought it, having heard the excerpts here because I admire the chap's dedication to his Art. Wagner's music was described as 'better than it sounds', here I'm not so sure.

From the site selling the CD,
He started play music in age of 12 years old, his first instrument was drums. Then few years latter he found guitar as a tool to have band, form this time he was trying to find his place in music. From early 90' he was leader of his own band called STUCKONCEILING, there he found his way of guitar playing and leading the bands. Around 96-98 he released couple of albums with his early fascination which turned around hard core, noise avantgarde metal. In this rock loud period he is founding improvisation as way to create music and thinking about this. Together with this Piotrowicz was researching electronics as topic for sound chalenge.
The breaking times for Piotrowicz music approach was 1999 when together with his band he finishing noise rock period and he turn himself into free improvisation. Together with Anna Zaradny - she joined STUCKOCELING around 98' - they both together strongly focused on experimental and improvised music.
In 2000 Piotrowicz played few concerts with well know improv figures as John Butcher and Tony Buck. In next year together with Anna Zaradny they found label and festival MUSICA GENERA. From 2002 all their art activities are strongly connected with record label, festival and events of improvised and experimental music in Poland. From this time he regularly play concerts all over Europe, including festivals and other events.
Activities of Musica Genera became one of most important phenomenon for experimental music in Poland.

Piotrowicz uses analog synthesizer to work on sonic research. He treats guitar as a sound source, to play he uses bow, metal, paper, engine etc. Electronics - beside their sound characteristic - are other way of expressions. Piotrowicz works with free impov contexts as well as working solo and on compositions. As improviser he works usually with Anna Zaradny and Burkhard Stangl with his most focused lineup (the trio released album "Can't Illumination"). By last years he collaborates often with: Tony Buck, John Butcher, Xavier Charles, Kevin Drumm, Jerome Noetinger etc. Occasionally he collaborated with Otomo Yoshihide, ErikM, Martin Siewert, Dieb 13, Werner Dafeldecker, Lionel Marchetti, Nikos Veliotis and many others.
Piotrowicz released some solo production (2 albums and one single cd) and he dedicates lots of attention for aesthetic of his musical status. Composed works of him touch noise music aspect as well as electroacoustic music tradition.
Together with pure audio work he collaborates with visual artists. His most important work includes collaboration with great film maker and musician Martin Klapper. He worked for the radio and theatres. Together with Anna Zaradny composed music for films.

Piotrowicz participates in international festivals (Audio Art Festiwal, Jazz en Gatineite, Alt F4, The Strings of Difference Athens, SKIFF, Muzyka z Mózgu, In Beetwen Chicago, Jazz in E., Copenhagen Jazz Festiwal, Art Rhytmic Depot).
He played in all over Europe (France, Germany, Norway, Denmark, Holland, Czech, Austria, Italy, Slovenia, Greece, Croatia) and USA.

David Westling added July 2009
I will add a review when the CD arrives, here are my initial comments, in the post is Bum Crab Hatband from David Westling, pictured right. I have not managed to find excerpts to listen to and so have ordered it on the strength of his intriguing pronouncements (repeated on the full page). It is available here.

From the site selling the CD,
David Westling born 1954 Chicago IL. In 1978 I took the plunge into serious electronic music creation by buying a small Emu systems modular. By 1983 I had moved on to an ARP 2600 and a more developed sense of what it was that I wanted to accomplish: still under the spell of Orwell's 1984, which I had read while in high school, I explored in musical terms some of the darker implications of the man-machine symbiosis then becoming a widespread concern. This was the idea behind my work "Exoline Elga" (1984). For the next few years I concentrated on visual art and didn't return to music until the early nineties. In 1993 I had three works appear on a compilation put out by Yucca Tree Records in Switzerland, "Point of Yucca Volume 1." In this same year I had two more compositions released by Pointless Records operating out of Kent, Ohio. The next six or seven years were devoted to further expanding my forays into the outer reaches of sound, utilizing an increasingly absurdist approach influenced by Dada and Surrealism. I began my latest round of sonic exploration in 2005 with the acquisition of a Doepfer-based modular setup. Since then, I have been increasingly preoccupied with questions of time and cadence and what one might call the Metaphysics of Wonder and Surprise. I am influenced not so much by the impenetrable theories and sonic efforts of Stockhausen as by Varčse's early "Poéme Electronique" and the work coming out of the GRM (Group Recherche Musicale de France) in the 1980s.

"Bum Crab Hatband", while not rejecting outright such genres as ambient and "space music", is predicated on the idea that the listener would benefit by a more challenging approach. I am preoccupied with time, and time as expressed in music. The shaman wishes in his attempt at connection with the divine to utilize sound to induce trance and thereby stop time. Other "sound workers" use rhythm to evoke certain types of motion, the galloping of horses, twirling ballerinas, or the violence of storms. But this connection to a naturalist perspective is not inevitable. At this point in time such devices serve to maintain our atavistic connection with the past, a past which cries out to be discredited. It is the world within one's own mind which, for us in the early twenty-first century, takes on more and more the evanescent qualities of the Real. Consequently, the external laws of nature as exemplified by Newtonian physics are no longer applicable This shift is of course mirrored in the newer theories of physics where at the subatomic level Newtonian physics is seen to be invalid. At any rate I believe there are profound new worlds to discover within us which might be accessed by such methods as I employ here.
there's some here

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