73. Pythagoras Babylonian Bathtub (2003) (TWO CD)

Live recording of a 2 and ½ hour performance using three laptops, 3 synthesizers, 4 loudspeakers, 48 oscillators, and 167 scales. This continually changing piece is made up of a series of improvised chord progressions in a whole series of scales which extend Ervin Wilson's structure of "The Scale Tree" into new levels of dissonance and complexity.

71. Road Works - Some Numbers - Graphic Descriptions - Stretti (2002-2003) (TWO CD)

Thirteen more turbulent pieces using either mathematical structures or graphic synthesis programs. "31 or 41 Ways of Looking at a Prime Numbered Spiral" which starts incredibly slowly (2 bpm) and gradually gets faster and more dense, has been described as "Pterodactyl Gagaku"! "And the Canonic Afterthought" combines turbulent orchestral samples with floating, ambient electronic sounds to form a contradictory emotional world. "343 Oscillators - The Public Version" is a series of continually changing veils of sound, each one washing over the next. A must for those who think math and emotional art are incompatible. "Stretti," on the other hand, are expansions in time of single phrases from pop icons, while "Graphic Descriptions" and "Road Works" extend computer graphic work with spectrograms to new levels of complexity. A must for those who think math and emotional art are incompatible.

68. The Mossy Slopes of Mt. Meru (2002)

A sine wave drone piece that explores the many harmonies that can be found in the mathematical structure known as Pascal's triangle. Some of the harmonies are quite familiar, some very strange, and the specially tuned sine waves produce an unfolding pyramid of aural illusions. One of Burt's major works.

64. Playing in Traffic (2000-2001)( TWO CD )

A 110 minute cycle of 8 computer and traffic noise pieces. Some of the pieces are filled with more notes per square second than you'll hear this side of Conlon Nancarrow, another is a fierce political denunciations of General Electric's environmental destruction; still another is a gentle wash of pure sine waves evoking Fitzroy, Melbourne in the summer heat. Birdcalls are stretched, samba samples are mangled, and in the end, a recalcitrant steam radiator triumphs.

56. Two Improvisations (October 1999)

"A Tour Thru Temperament", first performed live at Melbourne's Planet Café, traverses most of the historical tunings used in Europe from about 1100-1800, and does it in a mere 43 electric-organ drone laced minutes. "Charles Ives' 125 th Birthday", performed live at Melbourne's Collected Works Bookstore, has Burt talking and wise-cracking about his teen hero Charles Ives, playing samples of Ives' music and his own electronic reconstruction of the "Life Pulse" from Ives' indeterminate "Universe Symphony."

54. Ear Cleaners: 15 Short Experiments in Hard Listening (1995-1999)

Research pieces, most of which last 4:33. Hand drawn waveforms, unique shreddings of waveforms from malfunctioning home made software, massive clouds of corella samples, raucous tunings and timbres, skronky fm timbres. This is Burt at his most uncompromising and hard edged, revealing him as one of the predecessors of the Glitch movement.

51. Sound Installations 1998: Horsham, Warrnambool and Sale ( TWO CD )

Twelve pieces from three sound sculpture installations in Victorian country regions. The first CD has remixes of sounds from nine installations, including Burt's award winning "La Strega Bianca della Luna II" (also released on Innova), and Sines/Forks 3, featuring the legendary Al Wunder on percussion and Alison Thomson on flutes. The second CD mixes environmental sounds from the areas surrounding the galleries. Each consists of at least two or three layers of environmental sound, mixed to make a "faster" progression of events from the environment.

VISIT INNOVA WEBSITE for "SONIC CIRCUITS VI"

46. Harmonic Colour Fields (1996-97)

Recently released on the American label Pogus, and available from them. From the glowing ambience of "Portrait of Erv Wilson" to the throbbing clusters of "48=>53; 53=>48", this piece contradicts the prevailing post-modernist musical orthodoxy with a one way ride from extreme consonance to extreme dissonance.

VISIT THE POGUS WEBSITE for "Harmonic Colour Fields"

42. Drones 1994 ( TWO CD )

Where most drone pieces explore fairly consonant sounds, Burt's Drones, which he's been composing since the early 1970s, explore the farther reaches of dissonance. Think of it as music for your ears to lie back in an easy chair with, except that the easy chair occasionally morphs into something a bit, well, more "interesting." One of these drones, transgressing all the musical laws of medieval music, consists of nothing but commas (the mistuned, beating sounds produced by medieval intonation), extended in time. Clearly, the most dissonant piece written in 1394! Only 600 years too late, but better late than never.

26. Justice, Equality and Beatings 1 & 2 (1984-85)

This series of pieces started in a snowbound motel room in New Hampshire, in the northern winter of 1984. Trapped by the snow with a friend's DX7, Burt began playing with its tuning capabilities. The result was the first of series of drone pieces that continued until 1990. The first three of the series are on this CD. Glowing, glittering sounds that seem to stretch on forever, yet, almost without the listener realizing it, evolve into continually new and surprising sonic terrains.

23. Four Pieces for Radio (1981-3)

Wires, Texts, Acoustic Music, and Natural Rhythm were four pieces exploring acoustics, feedback, environmental sounds and interactivity, made for various Australian radio venues. "Acoustic Music" is a feedback piece made in a five story underground parking cylinder. "Natural Rhythm" uses sounds from an underwater microphone at St. Kilda Pier to control a synthesizer, creating a duet for tinkling electronic bells and shrimp. Are shrimp better composers than people? Listen to "Natural Rhythm" and judge for yourself. "Texts" uses a cut-up text and subjects it to very subtle electronic manipulation. "Wires" is a piece using four very long wires set up to feedback on themselves, and be resonated by an upright piano sound board.

20. Explorations of 31 (1981)

A set of four 15 minute drone pieces using the subharmonic series. Burt and Julian Driscoll had designed a frequency divider to produce precisely tuned subharmonic intervals. This piece, in which long stable chords hang in space, is the first outing of these modules. In performance the piece was played with loudspeakers swung on the ends of long chords, or with a dancer moving in front of the speakers, or with the audience moving about the space. A long lost and now recovered essential piece of tuning and synthesizer history.

14. Two New York Drones (1979) ( TWO CD )

Two 45 minute long drones composed on the New York City subway, and exploring the depths of the subharmonic series. Burt and Julian Driscoll had built devices to generate precisely related frequencies, and in these pieces, Burt begins his exploration of long sustained dissonance. The pieces might be compared to La Monte Young's drone work of the same period, although at this time Burt had neither met Young, nor heard any of his music.

9. Four Quartets and a Canon (1975-76)

4. Harmonia Mundane (1974) ( TWO CD )

Burt was one of the members of the People's Synthesizer Project, which evolved into Serge Modular Music systems, makers of the legendary Serge synthesizer. This is a set of five pieces made with a collection of fabled early electronic music machines: the Serge; the random information generator Daisy; a PDP-11 computer, and the Scalatron microtonal organ. "Bromeliads" is a static, non-directional soundscape, where a computer program simulates the motion of electrons in a black hole. "French Fried Minds of Walruses and Caterpillars", on the other hand, is a directional electroacoustic landscape, and "Busonianiania" is a straight out all-needles-in-the-red distortion piece.

3. Anthology 1970-73

A collection of analog and live-performance pieces from the early 70s. "Lullabies II" for briefcase synth and tape delay was an early minimalist piece. "For Charlemagne Palestine," a tribute to his friend, was Burt's first microtonal electronic drone piece. "John Lilly Meets the Dolphins" is a piece based on the voices of consciousness-studies pioneer John Lilly and his dolphin collaborators, as well as the sounds of whales and walruses. This is Burt's first piece dealing with underwater soundscapes, a theme that he would continue to explore.