76. Works for Radio (2004) ( THREE CD)

Text-based works made especially for radio. Includes “Poems of Rewi Alley”, in which the works of the New Zealand-born Chinese-resident poet Rewi Alley are read by the amazing actor John Britton, with musical accompaniments by Burt; and “Thy Sting” and “Schrodinger's Catch”, two science fiction stories by Australian award winning author Damien Broderick, performed by Quiddity Theatre, with music and production by Burt. The Alley poems will inspire you, and the Broderick stories will send shivers up your spine. Also includes a bonus disk of music used in the Broderick stories heard on its own.

76a. Poems of Rewi Alley (2003)

The poems of Rewi Alley cycle, from the above 3 CD set available separately.

76b. “Thy Sting” and “Schrodinger's Catch”

The two Damien Broderick science fiction stories, from the above 3 CD set, available separately.

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.

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.

62. Five Environmental Displacements (2000)

Five unedited slices of the environment, each 10 minutes long. Originally recorded for correspondence artist David Dellafiora, these recordings are designed to be used by the listener to make personal environmental soundscapes.

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.

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.

59. Lost and Abducted (2000)

Hartley Newnham and Carolyn Connors star in “Abducted” a gruesome Sci Fi tale about alien abductions and breeding experiments. Text by Robert Randall, music by Burt, Newnham and Connors for computer processed voices, harmonic canon and tuning forks. “Lost” is Randall's staged updating of 19 th century bush ballads, set to dramatic recitation by Ian Holdaway and highly textured music by Burt. Contemporary music theatre at its most challenging.

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.

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.”

52. Diversity (1997-98)

Burt's political multimedia theatre from 1998, directed by the late Sylvia Staehli. At times satirical, at times direct and hard hitting, “Diversity” pulls no punches in its attack on the domination of contemporary politics by economics and business culture.

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.

41. Horizon Rerun (1994)

Burt and choreographic co-conspirator Eva Karczag have been making sound and movement magic happen together since 1977. This piece features Karczag's stream of consciousness poetry, environmental sounds, and a series of electric piano pieces by Burt. Karczag uses a theremin to trigger off electric piano sounds, Burt tracks her movement with a Buchla Lightning, and the two of them interact with the machines in an engrossing soundscape.

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.

28. Music for Tuning Forks (1985-87)

Burt built his tuning forks in 1985 in order to explore microtonal tuning ideas. They quickly took on a life of their own, as their pure sine waves created glowing and warm washes of sound. The first three pieces for the forks show them off in a number of different contexts. “Improvisation in Two Ancient Greek Modes”, with Ernie Althoff, is a multitracked piece exploring ancient harmonies; “Voices, Tuning Forks and Accordion” is a much more contemporary take - the Astra Choir uses the forks to assemble long sustained clouds of sound, weaving their voices around the tuning forks' haunting sines. “Almond Bread Harmonies II” for five players is a very slow, almost metaphysical scanning of the Mandelbrot Matrix, a chaos pattern, to make a piece that is sparkling and calming at the same time.

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.

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.

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.