This 3th volume continue to show all the aspects of electronic music from the early beginning until now - including 2 pieces of historical concrete music (of the 70's), several piece of American tape music (Columbia University) with a special focus on all the electronic music from Germany - WDR early works - krautrock - electronic from 90's... Also featuring some recent work of the greatest noise artists + several unsung electronic pioneers ...

If these shadows remain unchanged, putting a creative spin on your unsolicited auditory environment will prove more and more essential, as survival mechanisms go.

Sub Rosa's anthologies of electronic dissonance and unanchored clatter don't pretend to serve as comprehensive overviews. They host a good few of the composers who, from the mid-1900s on, have divorced "music" from traditional notions of rhythm and melody, thus coaxing it closer to the random bangs, cries and chimes of the great outdoors, but, of course, a lot gets left out. They're best digested as tutorials on how to divine compelling art from seemingly random patterns of sonic cues. Make these tracks welcome in your own head - make your own sense of them - and you may prepare yourself to boogie to the no-cover "noise" show that awaits at every downtown crosswalk.

Disc 1 plays with the sort of blips, stings and whirrs that grace corporate bullpens after hours, when most everyone's gone but screensavers still bounce around unseen. It's the backdrop that keeps clicking and fluttering during the day, partially drowned out by human input but still audible if the people drive you so nuts you'd rather listen to the machines. It's what we now talk about when we talk about roomtone.

Ilhan Mimaroglu's "The Last Largo" is one of the disc's most minimal and most musical selections - it bottles the loneliness a sound effect might feel when realizing it's not part of a bigger composition. Hundreds of little clicks and beeps take turns begging for attention, and seem to ache like gnats trapped in light fixtures. Justin Bennet's "Ovipool" approaches and skirts overload inside three-and-a-half minutes. Hang on, hold your breath and figure out how to be thrilled, and noise can't hurt you anymore. So crank that shit.

The downtown concerto has had to adapt, with greater and greater tenacity, to beaten station wagons idling outside currency exchanges, blaring repetitive beats and hooks. Pop music has crashed environmental noise's party, and environmental noise has wrapped around it like kudzu. Disc 2 takes that shift into account, with selections from Michael Rother, Faust, To Rococo Rot and other new electronic pioneers who neither deny or deconstruct digital beat science. They give it its place in the background, and improvise over it, without letting it dominate their work.

By Emerson Dameron

(http://www.subrosa.net/en/catalogue/anthologies/an-anthology-of-noise---electronic-music-3.html)

Guy-Marc Hinant's Anthology series is best taken as a primer on obscure artists who spent countless and often thankless hours and nerves in basements, laboratories, and studios struggling to translate cold electricity into actual music. His civil service is noble; too many greats were shoved to the side in many textbooks and "hip, urban tastemaker" namedrops that typically praise the graces of Cage, Stockhausen, Russolo, etc. Hinant was also guilty of sacrificing a few goats to these deities in his first Anthology. However, Hinant took his second volume into greener hinterlands. He featured the likes of BBC sound designer Daphne Oram and David Lynch collaborator/Eraserhead soundtrack mastermind Alan R. Splet, and he ended this set of noise and electronic music with a Captain Beefheart spoken-word performance.

Hinant actually apologizes for the shortcomings of his third volume, which focuses on Germany's electronica heritage. His survey introduces a few laudable drone and musique concrete artists, but gives little sense about the German electronic aesthetic. The faces of Kraftwerk, Oval, Mouse on Mars, and even Der Pate Stockhausen are missing. The great krautrock legacy is reduced to Neu's Michael Rother drifting to sleep on the Autobahn with Jaki Liebezeit playing with his seatbelt in "Feuerland", and a tiny excerpt of The Faust Tapes that shall fly over heads. German post-techno doesn't get much justice either: Carsten Nicolai's "time...dot (3)" will remind one of the "clicks and cuts" backlash, and Peter "Pita" Rehberg donates a decent but monotonous recording of a chugging engine he recorded when 16.

For the non-Germanic material, Hinant offers an often enticing survey of alien and hallucinatory soundscapes. Japanese warlord Merzbow will singe memories with "Birds and Warhorse". Masami Akita first discomforts with peaceful birdsongs heard through a hazy cell phone-- causing me to flinch as I anticipated a thermonuclear blast of feedback at any moment. And, by gar, the bastid delivers. The birds wail like mistaken SARS carriers on their way to a government biohazard disposal-- the monolithic distortion and digital hardcore beats drive the death march.

Michel Chion also bites the neck with "Requiem: Dies Irae", a ballet of bathtub operas, whispered group chants, and theatrical death threats. Another fine mutation is Bernard Parmegiani's "De Natura Sonorum: Matieres induites". He first sandpapers synapses with microtonal brine that bleeds into rainfall with tossed trash cans and guitar pings following suit. Other bafflers include a warehouse air fumigator that skitters and blows ashes in Justin Bennett's "Ovipool", Francisco Lopez's hyper-real document of insects muttering at overhead jetliners in "Untitled #148", and the liquefied crunch of stones in Scott Gibbons' "Stone: Reciprocal".

The rest of Anthology dwells in kitchen-sink collages and white noise indulgence best left to term-paper footnotes. The closer, "Eternal Love #3"-- by Swedish minimalist techno unit Phauss, along with composer CM von Hausswolff and filmmaker Erik Pauser-- fails to seek transcendence with Geiger counter clicks and lawnmower guitar hums. Where's Beefheart when we need him?

(http://pitchfork.com/reviews/albums/11711-an-anthology-of-noise-electronic-musicthird-a-chronology-1952-2004/)