72. Occasional Works (2003-2004)

An anthology of experimental and funny works. MPB (musica popular brasileira) is deconstructed and hilariously reassembled in “Oulipian Ipanemas” and “Bossa Blotto”. Experimental poets are remembered in “Vocabulary Requiem for Nicholas Zurbrugg” and “Jas Rhythms”. Corruscated electronic sound textures are explored in “And Pterodactyls Danced in Dewsbury”, the soundtracks for Elizabeth Block's films, and “Rule Gnu...” an improvisation with a wildly malfunctioning electronic keyboard. Wild improvisation with Catherine Schieve on Ecuadorian shaman's drum is also featured in “Shaman's Drum and Beat-Sliced Samples”, where the techno technique of beat slicing is taken to extremes.

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!

67. William Gillespie and Warren Burt: The WEFT Improvs (2002)

Two mutants in a public radio studio in the middle of the American mid-West. Experimental poet William Gillespie (spinelessbooks.com) and Burt improvise “Smooth Jazz” with samples and, for everyone who ever suffered through a radio pledge drive, here's a tonic for your ears: a live performance of cut up and sampled pledge drive ads performed, that's right, as part of a radio pledge drive. Very silly.

61. Two Live Computer Improvisations May and August 2000

Ruth Westheimer meets the currawongs of Canberra in the first of two pieces on this CD. Recorded live at La Mama, Melbourne, it's 30 minutes of AudioMulching harmonies, words and birds. The second piece is an early version of Burt's working with the poems of New Zealand socialist realist poet Rewi Alley. Recorded live at Exp @ Centriphugal.

40. Texts and Music 1987-1998 ( TWO CD )

Working with both human and machine poets, Burt here sets texts and performances by humans Amanda Stewart, Gertrude Stein, Elizabeth Block, Allyn Brodsky and Brigid Burke, Nossis, Ptolemy, Plato, etc. and cyber-authors Racter and Eliza. Performers include Howard Stanley, Susie Fraser, bernie m janssen, Ernie Althoff, and a host of others. This wide ranging collection of texts and settings is almost an encyclopaedia of ways the contemporary composer can deal with words.

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.

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.

7. Nighthawk, Part 2: 3 Poems of Reassemblage (1975)

Three classic lo-tech experimental poetry pieces. Includes "Frou-Frou Flamingo", Burt's first cassette recorder piece, the dark gangland rhythms of "The Alligator Lords," and the vocal multiphonics and cut up pulp literature of "The Smirking Haddock." Cut-up poetry, toy percussion, cheap electronics - an essential piece from the 1970s sound poetry movement.

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.