Massive slab of temporal disruption from one of the most consistently wowing figures to come out of the cultural meltdown of the 1960s. Conrad was a key mover in the Lower East Side rock and avant underground in the early to mid 60s, playing with Lou Reed, John Cale and Walter DeMaria in Reed’s frat-rock combo, The Primitives, and standing in with early line-ups of The Velvet Underground. But it was his activities as part of The Dream Syndicate/Theatre Of Eternal Music, a group dedicated to extending waves of single note bliss into whole new zones of psychoactive ecstasy, that were to have the most far-reaching cultural impact. Alongside John Cale, Angus MacLise, LaMonte Young and Marian Zazeela, Conrad founded a whole new approach to sound, working tiny pulsing intervals into long monotonal drones generated by bowed strings and vocals and birthing a minimalism several cells more blasted than the saccharine soundtracks associated with bigger hitting names like Philip Glass and Michael Nyman. Fantastic Glissando dates from 1969 and features four tracks of degraded sine-wave oscillations that approximate the roar of a fleet of V-2 bombers.

“YES!!! Finally!! Angus and Bon Scott would def. label this knockout collab as grade A T-N-T!!! Here's how it went down: The Machines were kicking it Brooklyn style last January for some jam time with Burning Sess Core, and the Tovinator had a solo slot in Glasslands on Super Bowl Sunday. Seeing how we both were worked up from the Pitts power plays and amazing Puck and Queen B quality time, Thurston added fuel to the fire and suggested that Conrad hit the stage with Tovah. Seeing how Tony only had his pajamas and an rusty old auto harp in tow, the aural jam scape was destined to be stripped down and tense. So here are the results!! Tovah on tin can "voice", tapes, and the sheet metal/spring "mailbox" sculpture and Tony on unprocessed auto harp. No drone sound in sight, just a clanging, echoed, tangled sharp barbed nasty JAM. Super duper, like nothing else in either discography. Could be seen as a celebration in real time to the STEELERS, with STEEL and STRINGS. Amazing!!!! Edition of 200 in super weird covers, hand numbered.” – John Olson.

Rarity: First volume of the Lactamase 10" record series from BLRR, a split 10" that sees minimalist godfather Tony Conrad in a zoned violin/cello duet with Alexandria Gelencsser on the A and solo surrealist/industrial psych from Edward Ka-Spel on the flip. Hand-numbered edition of 500 copies with insert, coupon and bookmark flier for Conrad's Texas Tour '99. OOP.

Blazingly heavy three-way that pits violinist/improviser Tony Conrad against two visual artists, Jutta Koether and John Miller. Koether plays synth, dropping naive clusters of atonal chords into the path of Conrad’s disembowelling violin while Miller plays some squealing acid-soaked leads. Easily one of the most intense and densely psychedelic outings for Conrad outside of his duo with Keiji Haino and one that ranges from tiny, mesmeric string tonalities through avalanches of feedback. Edition of 500 numbered copies on blue vinyl.