SQ (aka Sound Quartet) imaginary soundscapes, noisy electronic experimentalism, composed impro art of electrified sounds and images. It's an ever changing gathering of electronic/acoustic musicians and visual artists in a joint search for new artistic crossroads and territories. The first initiative was from musicians Thomas Bjelkeborn (SE) and Philippe Moenne-Loccoz (FR) out of experimental research collaborations since 1992 at The Electronic Music Studio in Sweden and Musique Inventives d'Annecy in France. The Sound Quartet perform in concerts with acoustic instruments, laptop, wii-controller, motioncontrol, neuroheadset, 3D navigator, gadgets, video and vj-ing. The pieces are performed in solo, duo, trio or quartet combinations and is created by Thomas Bjelkeborn (SE) and Philippe Moenne-Loccoz (FR) in collaboration with visual artists and musicians. A main part of the work for the ensemble is projects with various musicians that is associated to the quartet: Paul Pignon (UK), Frøya Dahlø (NO), Josep Lluise Galiana (ES), Gregorio Jimenez (ES), Johan Sundberg(SE) and Olle Åberg (SE). Also very important is the cooperation with Patrik Sandenor from the visual team Deadpixel. The following musicians have appared as guests at various concerts: Edith Alonso (ES), Julian Bonequi (MX), Nina de Heney (SE), Anthony Maubert (FR), Mark Pilkington (UK), Koray Tahiroglu (T) and Per Ålund (SE). The following have appeared as guest visual artists: Viktor Zeidner (SE) and Michael Larsson (SE) for Deadpixel.

Despite the horribly prescient title, as Music City USA recovers from terrible flooding this past May, this “25th anniversary reissue” of solo recordings by V-3/Mike Rep and the Quotas member Nudge Squidfish is oddly satisfying, and a good companion piece to the two mysterious, recent appearances on LP of Vertical Slit’s Slit and Pre-Slit and that V-3 bootleg. Of course, there are plenty of stylistic differences between this release and those of Shepard’s. For instance, “Drinking for Christmas” could surprisingly fit in with C86 bands of the same period, while songs such as “Goodbye Princess” recall Big Star if Chris Bell was high on Whip-Its. “The Stranger” and “Backlot of Gilligan’s Isle” anticipate The Pod-era Ween (that’s a compliment). Elsewhere there’s tearjerkers like “City of Sorrow” and “Wonder Where You Been,” tributes to fellow Ohioans such as “They Call Me Mike Rep,” two otherwise-unrecognizable Shepard covers (“Metal or Meat?” and “Signals & Warnings”), some spoken-word nonsense, and an overall vibe of loner weirdness that probably couldn’t be replicated in any convincing way today, even if anyone had the balls to try. (http://www.columbusdiscountrecords.com)

Swedish rocknroll and blues band since 1978.

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