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.

70. Drawings, Voices, Splices and Fortune Cookies - A Dozen Assorted Pieces 2000-2002

Twelve pieces in this highly varied assortment of pieces from the early 21 st century. There are noiseband pieces, concrete poetry, socialist realist poetry, drone pieces, and maniac splicing pieces that go right to the edge of perception. Plus a counterfeit Percy Grainger piano piece, played as if by Percy himself!

63. Winter Solstice Mix (1999-2000)

One hour long live recording of the soundtrack to a multimedia performance by Burt and filmmaker Dirk de Bruyn. Using recordings for drums and electronics specially made by Burt and Ben (Metaphysician's Hammer) Chadabe, along with a table full of computers, toys, and penguin recordings, this is a sonic roller coaster ride.

60. Antipodean Collection: A Laptop Symphony (2000)

A suite of nine live computer pieces, performed on tour by Burt in late 2000. Includes “Looking Towards Antarctica” the piece that Merzbow fans find too aggressive (!), and “Some Physical Virtual Sensuality”, Burt's sarcastic take on laptop culture. Also the gentle beauty of “Debussy Cloud” and the sampled duck quacks of “Fractal Follies” where, conceptually anyway, Benoit Mandelbrot meets Mel Blanc.

58. Music of the Pre-Neo-Cyberian (1998-99)

Perhaps some of Burt's oldest music - one of the scales used on this collection of 19 pieces is probably about 25,000 years old. Paleomathematics as music! Also Burt's tribute to British drum and bass magazines, a set of microtonal etudes, some noiseband work, and hommage to the late great performance poet Jas Duke.

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.

50. A 90s Miscellany

Fourteen short pieces, mostly made for mail art and collective sound art projects. Includes “With Proper Regard for Copyright”, Burt's 1996 plunderphonic collaboration with Tim Kreger, and “A Little Lullaby for Lev and Clara, Reunited in Heaven”, where Burt plays “der Russian perfesser”, in an homage to Leon Theremin, who was one of the folks who got this whole thing started.

44. Five Chaotic Movements for David Tudor (1996)

Remembering one of his inspirations, Burt uses analog synthesizers, computers, and samplers without regard for their ideologies to assemble a series of chaotic, self-generating environments to memorialise the late 20 th century master of the genre. All pieces recorded live.

39. Chris Mann and Warren Burt: Collaborative Works 1977-1993 ( TWO CD )

The collaboration of Burt and Mann is legendary in Melbourne and international performance poetry circles. For almost two decades, they worked together on a series of gritty, uncompromising performances where Burt provided sonic environments as convoluted as Mann's multi-layered texts. Includes “Syntactic Switches” from 1977, an historical La Mama performance, as well as the forty members of the Astra Choir performing with an equal number of cassette recorders, resynthesizing the sounds of Pidgin and the audience's voices. “of course” and “anyway”, their two major collaborations from the late 80s, for live computer and voice, are also included here.

24. Aardvarks IX (1982-84) ( FOUR CD )

Aardvarks IX was a two year project of Burt's, in which one of the first single board microcomputers was used to control an analog synthesizer that he built. This four CD set consists of a 2 hour cycle of pieces that vary from serial to tonal to chaotic to incredibly noisy; a one hour live performance for Australian environmental sounds and live electronics interacting with those sounds; and six versions of an early experiment in artificial intelligence where a computer program was instructed to compose and play an endless series of variations. As well of being of historical interest, these pieces swing.

17. Tasmanian "D" and Suite for Cheap Technology (1977-80)

In the 1970s, Burt was one of the pioneers of Melbourne's cassette culture. His work with Ron Nagorcka in the now legendary duo Plastic Platypus led to these solo pieces. “Tasmanian ‘D'” starts with the sound of a key ring and a single circular breathing ‘D' on a piccolo, and through multiple cassette recorders transforms them, in live performance, to a shrieking mass of shredded sound. “Suite for Cheap Technology” is a collection of pieces premiered at Melbourne's seminal Clifton Hill Community Music Centre, using lots of little electronic devices to create “electronic music that anyone could make.”

6. Aardvarks IV (1972-5)

Noise fans will love this one. One of Burt's major works, it's been called "the best electronic piece since the First World War." A long, violent fresco, it was made with Aardvarks IV, an almost intelligent composing machine that Burt built because he couldn't afford a computer at the time. Evolving from an uneasy drone into complex and roaring sounds, the piece rises to what seems like a climax, only to dissolve into a sense of mystery and curiosity. If you want to find out what the state of the art in electronic music technology was in the early 70s, here it is.

5. Bobo the Clone...(1974)

One of Burt's chief influences was William Burroughs. This highly energetic live performance - made on the Serge synthesizer after a session repairing it - was made in a single afternoon, and encapsulates Burt's reactions to the master of the modern macabre.

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.

1. Trilobites and Aardvarks (1969-71)

Burt's first electronic music work. From the rampaging collage of "The Trilobite Trilogy Blues" through the barrage of roaring, whining Formula-One Grand Prix like sound of "Sleiden Sound" to the chopped up sound of 19 people reading 19 th century pornography in "The Scarlet Aardvark Strikes Back", this highly energetic and exuberant piece expresses Burt's joy at finding a medium which suited him perfectly. Made with the now historical CEMS synthesizer system designed by Joel Chadabe, early synthesizer fans will love this.