crystal center, earth bound gravity embracing our energies...
Massive love pulling us in...
I dance within her aura, listen to her song, playing footsy with her majesty.
unfolding her fullness, 
lusciously extravagent.
Roots of light rising through her molecules, earthseed sprouting through the surface,
spiraling into the soft and subtle origin of our ether, enfolding into us, blooming mandalas.

and now the rivers flowing, transcending opposite effects, like snakes of sacred fire dancing, rising,
yearning for the song, through and through, purifying rainbow,

from undersound to red,
I know I am alive and blessed with this heart to beat and hands to reach,
exposing the purpose of a tree to breath, and know its flesh, for our reason to grow and souls to glow.

and now the rivers flowing like snakes of sacred fire dancing, uprising,

In a pool of orange to wisk us into the act of preserving beauties only earth might know,
to show the proof of life through living,
breathing and swirling sound into matter as creation,

and now the rivers flowing,

from hues into edges, yellow becomes present, only to afford a little more insight to energize,
personalize the ether and express the blessed amongst the son and daughters of the goddess,
I am that I am,

and now the rivers flowing,
yearning for the song

In a sea of green, transcending earthly bodies, where the lovers in light first met to give birth to sound,
infinite love is the ruler of this realm,
all pervading force to permeate the cosmos,

Through and through, purifying rainbow,

In a sky of blue, true to the spirit that speaks the word,
like the breath of wind to lift the wings of a dove.
My thought forms are clouds, spoken rain to restore the essence of animation,

and now the sacred fire's dancing, rising,

indigo fractal time spiral entwining light through sound, spirit in the dreamworld,
waveforms matterializing crystal symmetries, sacred geometry,

Dancing, rising,
purifying rainbow,

sacred birth portal engulfing violet flames, reaching through the resonance, 
whitefire spoken from the father's throne, starseed is blooming infinite sustenance as food for the mother who gives life to the giver, reciprocating unity, divine transactions creating sacred consciousness, the crescendo of the song

Rising, river kiss the ocean and bring love to the maker, sacred caretaker of all the borrowed energy,
infinitely unfolding geometric dreamscapes into space and time, creating space and time, entangled within the essence of itself. Mother earth and father sky, thank you for my life, as we become each other all I see is the dream of love.........................

Once a music man, always a music man. Case in point: Jim Kaufman.

Best known as the guitarist/synth mastermind behind post-hardcore rock band, Opiate for the Masses, Kaufman is busy parlaying that success into another arena—developing and producing artists.

For Kaufman, it all boils down to one simple equation: “I like to create careers for people.”

On Kaufman’s front burner right now is Nashville-based singer/songwriter Elliot Collett and his band Future Thieves. The pair, who began working together two years ago, have been in the studio of late with Linkin Park’s Chester Bennington. The latter has co-produced three songs with Kaufman and Collette for the newcomer’s debut rock album.

Kaufman’s work isn’t limited to rock. His songwriting and production credits run the gamut from country and pop to world music. Within the former, he’s worked with the late Tim Johnson and Stereo Snakes, a country band from Spain. The latter includes Kirtan act Govind Das & Radha, headliners at the 2013 Bhakti Festival in Joshua Tree, which attracts some 200,000 attendees each year. On the pop side, he produced actress E.G. Daly’s last album, The New Collection.

But he hasn’t entirely forsaken his artist side. Kaufman will be releasing A Party of One, his self-written and produced solo album via iTunes on XX.  A skillful fusion of electronic instrumentation and old-school songwriting fundamentals—verse, chorus and bridge—the set features E.G. Daly on the mesmerizing track “A Rifle in My Hand.” Other standouts include “The Artist” and “Breathe.”

“Coming from my background as a piano player, programmer and synth man in Opiate, this was something I really wanted to do,” says Kaufman of the 2 ½-year project. “It’s a little scary, but cool. I just wanted to do something creative.”

That’s an itch he’s been scratching ever since he was a kid growing up in his native Phoenix Arizona. The youngest of four siblings, Kaufman was born to an amateur musician dad and a mom who was “super adamant about classical piano lessons.” Playing in bands during a childhood influenced by rock’s yin and yang— Pink Floyd, Alice in Chains and Nine Inch Nails—Kaufman attended the New School for the Arts during his senior year of high school.

That’s where he took up guitar. And later forged pivotal creative alliances with two other students. Two years later in 1999, Kaufman—with drummer Elias Mallin [Ke$ha, Filter] and lead singer Ron Underwood [9 Electric]—created Opiate for the Masses. 

An EP produced by Nine Inch Nails’ keyboardist Charlie Clouser led to the group signing a label deal. A series of releases ensued, including the 2001 and 2002 EPs Seven and Goodbye followed by 2005’s The Spore and 2008’s Manifesto before Opiate disbanded in 2009.

Before leaving the group himself in 2008, Kaufman segued into work as Clouser’s assistant.  That relationship later led to his role as assistant engineer for alternative metal band Helmet’s 2004 album Size Mattters as well as Kaufman assisting Clouser during the scoring of Saw 1. From there, Kaufman scored indie films for Lionsgate as well as the Internet television show “Models Turned Superstars.”

Those endeavors eventually sharpened Kaufman’s present resolve: to become a first-class producer. “Working with Charlie, and other platinum producers like John Travis [Kid Rock], Ulrich Wild (Pantera, Static X), and Ed Stasium  [Talking Heads, Ramones], I witnessed their production process first-hand and learned how they handled artists,” explans Kaufman, whose producer idol is Rick Rubin. Like them, I always try to make sure I’m telling a story about where the band/act is in their life. How we record reflects on the future of that act.”

Kaufman divides his time between his own studios in Culver City, Calif. and Sedona, Arizona as well as such L.A. studios as Ocean Way and Nightbird. Always on the move, the music man is also a savvy businessman. In addition to co-owning Nashville publishing company the Song Factory, Kaufman co-owns popular Phoenix pizza food truck Saffron Jack and helps manage his family’s real estate company.

But at heart, Kaufman is a studio guy who possesses a unique, innate talent. “Watching an artist grow as a musician and/or songwriter, capturing his or her body of work, documenting a piece of history. If I can influence that,” declares Kaufman, “and the world can hear that artist through my ears, then I’ll feel like I’ve done something really great in music. That’s what I strive for.”


Approaching 25 years of existence and having grown to become one of extreme music’s premier live outfits, while releasing albums that would dominate year-end lists and even bagging a Norwegian “Spellemann” Grammy award for their ‘Profan’ album, Kampfar looked ready to go and dominate for years to come. But behind the music, disguised during the intense live shows, underneath it all, was a clarity that the road’s end was nigh.

Founded back in 1994 by Dolk, who recruited Thomas to take care of strings and keys while the former focused on drums and vocals, the band was an underground gem for years. A band whose first records are spoken of with reverence to this day, perhaps helped by the low profile they kept at the time. It was ten years before the first live show was performed, at this point bassist Jon and drummer Ask Ty had joined the ranks and this line-up released another three albums before Thomas departed the band, 2011’s ‘Mare’ the last release with his stamp so solidly placed on it.

This recording marked a shift in the style and expression of the band, becoming the leading star for the records to come, now with the new guitarist and songwriter Ole who quickly developed into a key force of the group. With the albums ‘Djevelmakt’ and ‘Profan’ Kampfar established a new era for Norwegian Black Metal, proving that while some may have lost their passion for the fiercest musical exploits, these men had a hunger that was as ravenous as ever.

Though demos were written by Ole during the spring, shaped massively by him losing his father in the same period, the main song writing was done over the course of two months in the fall of 2018, with another month spent recording the album in Bergen, Oslo and Pärlby, Sweden. The band spent intense weeks together in their creative home of Hemsedal, moulding and shaping the songs, surrounded by mountains and forest that turned from summer green, to autumn yellow, to winter white as they worked extensively on what was to become this testament to the band themselves.

The madness of Medusa was chosen as a visual clue to the record’s themes, represented by two different paintings to be explored on the physical releases. And again, the band decided to travel to Poland to record a music video, this time with director Dariusz Szermanowicz of Grupa 13. The video, hinting at the many underlying stories of the album, is a chaotic depiction of the road back to equilibrium, a place no one knows yet all walk towards. According to Ask Ty, the choice of song proclaiming the band’s return was made because “it tells you everything you need to know about Kampfar today, distilled down to four and a half minutes of intense breaks and turns, it is the beginning and the end and the new beginnings after that, and it is the sound of a band that is alive and well.”

‘Ofidians Manifest’ represents Kampfar anno 2019. 25 years on from their foundation, only willing to release new music if they felt it would surpass all they had done before, it is a condensation of the immense struggles of the last few years. Everything that has been hidden behind the music and the live performances is laid bare, though told in the only way the band can portray themselves, through songs. It is immensely honest yet wrapped in their own folklore, the snake tongues splitting every truth into two deeper truths, every word sung dominated by the weight of all those sung before.

To Ofidian.

Alias: Sai & The JBs,
Sai On The Track
Je Ne Sais Quoi,
Rockstar Skater Dad

Sai from the Go, Sai From The Chi.

People always told me I had to choose between being a rapper or a singer, but I'm a Gemini to not have both sides of music goes against my nature.

This page is for promotional purposes, all songs are property of their respective owners. Links to bands are in the Lyrics and Buy sections.
Currently Illumination Corner is a humble Project Studio providing local artists and musical minds an affordable, high quality recording and production solution.  Dedicated to maintaining and proliferating the energy present within your music!  
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Services: Tracking, Editing, Mixing, Mastering, Live Sound Reinforcement, Voice-over/Dialogue, Commercial Audio for Radio or Video.
Standard Recording Rate: $18/hour, 2 hour minimum.
Current Recording Package Deal: contact illuminationcorner@gmail.com for details
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Certifications in Apple Logic Pro Studio 9, Digidesign Pro Tools 8, Waves, Reason, TC Electronic, Auto Tune, Melodyne, EAW Smaart, L-Acoustics Soundvision & Line Source Array Technology, Roland V-Mixer
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October, 2010 CRAS Graduate. Interned at Flying Blanket Recording in Mesa, AZ (2010) with the most awesome and inspiring engineers, Bob Hoag and Gerald Schoenherr during sessions of Mergence, Black Carl, Snake! Snake! Snakes!, Gospel Claws, and Tony Druck.
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Thank you for being human.
All Songs are property of their respective owners.

Phil Platt is a singer/songwriter/guitarist based in Manchester (UK)
Most of these tracks have a video to them which can be seen on my channel  at: https://www.youtube.com/channel/UCCLitqFiwdCKapZjycC6ipw

Working on 4 different music projects at present including:

1. The Ride was a band gigging around the UK during 1980/90's they recorded 3 albums and 2 singles all original material written by Phil Platt and released on vinyl. Currently in the process of archiving and uploading the band's back catalogue to SoundCloud.

2: "The Diesel Brothers" is a live band who do their own versions of various big hits from the 70's up to present day. 

3. "Still Stones" is a "Rolling Stones" music only tribute band so we try to capture the raw Stones style rather than try to look like them (Who can look like the Stones anyway?)  :-D

4 "Tin Of Snakes" is a studio-only project of all my new songs, once finished I am hoping to take it out live.

Who needs to sleep or eat when you got music?

This is where you can hear the long awaited second album by Joker's Daughter! 
The new album 'May Cause Side Effects' is the next chapter from this exciting narrative artist. This time, she encapsulates Greek myths, more dreaming, folklore, story telling, insects having parties, gossiping, and even U.F.O's! All with her usual ghostly sense of humour. However, songs such as 'Mind of Gold', and 'Follows' touch on her more sensitive nature of the wonderings of life. 
Her Greek influences shine through even more so than the first, as her bouzouki  is present in most of the songs. 

With the exception of 2 tracks 'Mind of Gold' and 'Bubbles', which were produced by  Mike Lindsay of Tunng, Helena Costas has written, recorded, produced and mixed this album all by herself, with a little help from her friends and band members!
The album and single was also mastered by Benge at his studio in Hoxton Square.
A determined and passionate singer, songwriter, performer who is self promoting, self distributing, self managing, self producing.  A true “indie” musician.

THE SINGLE 'MIND OF GOLD' WILL BE RELEASED ON 3rd OCTOBER 2011, and will include the b-side tracks, 'Handful of Nothing' and Iron Maiden cover 'Infinite Dreams.'

THE ALBUM 'MAY CAUSE SIDE EFFECTS' WILL BE RELEASED ON 31st OCTOBER 2011.  

Both on DIGITAL ONLY, but cds will be available at gigs so make sure you get to one if you want the lovely artwork, created by bass player and graphic designer Steve Rodgers!

Helena has been rehearsing with band members, Mark Robson and Steve Rodgers to form an acoustic interpretation of the songs so be prepared for some intimate surprises!

Helena - Vocals, Acoustic guitar, Greek bouzouki, Recorder, Ocarina, percussion.
Mark - Acoustic guitar, Greek bouzouki, vocals, and a mean Yamaha Microsampler machine!
Steve -  Bass guitar.

ALBUM INFO:

1.MIND OF GOLD
2.THE BOOK THAT DREW ITSELF
3.GIANTS, SNAKES & DINOSAURS
4.BUBBLES
5.MOANING MINI GETS BEAMED UP BY A U.F.O
6.RAVEN'S BALL
7.KNOWING
8.MAY CAUSE SIDE EFFECTS
9.ORPHEUS
10.GOSSIPING OLD HANDBAG
11.THE FOOL
12.FOLLOW
13.THIRTEEN
14.HIS SEASON

All songs recorded, produced and mixed by Helena Costas, in London,
except Tracks 1 & 4, recorded , produced and mixed by Mike Lindsay.
Mastered by Benge.

All vocals and instruments by Helena Costas, except: 
Tracks 1 & 4 - Electric saz, bass, extra guitars, dulcimer, percussion by Mike Lindsay.
Drums by Karl Penney.
Track 3 – Bass, drums, bridge synth played & recorded by Mark Robson. 
Track 9 – Oboe by Sally Burrows.
Track 10 – Bass, v-synth, acoustic guitar played & recorded by Ed Austin.

All songs written by Helena Costas © 2011 (PRS).
 Tracks 1 & 4, published by Domino Publishing Co.Ltd 2011.

Artwork by Steve Rodgers  (www.sjrodgers.com)

www.jokersdaughter.co.uk
mail@jokersdaughter.co.uk






Ned Branchi is a Singer, Songwriter, Recording and Performing Artist from Melbourne, Australia. His career spans from the 80s through to the present with 5 albums of original music published and songs featured in two Full Feature Surfing movies, "Injuiced" (Brook Sylvester) and "Pulse 2" (Justin Ganes). Ned Branchi was a founding member and singer-songwriter of two well known Melbourne bands “The Horla” (1984-87) and "Bigger Than Jesus" (1989-90). Also founding member, singer and songwriter for "Spoon" (Australia). Through extensive touring  Branchi has developed a massive fan base and won critical praise for his dynamic live performances, "Spoon" released a self titled album in 1997 with Aria award winning engineer Wayne Connolly at Charing Cross Studio, Sydney. The album “Spoon” is a classic Australian Rock album EP featuring 7 songs that have all received extensive airplay.
In 2001 Spoon recorded the “StKilda Sun” album with engineer James Kilpatrick at Espy Recorders, StKilda, Melbourne. The album EP features 6 song that have also received extensive airplay and critical acclaim. Since launching a Solo Career in 2009 Ned Branchi has recorded another 3 albums in Java, Indonesia, that have yet to be released in Australia. Over his long career performing extensively in Australia and Internationally Ned Branchi has supported and appeared on stage with some of the biggest bands in the world, both Australian and International. These include Violent Femmes, Models, Renee Geyer, Hoodoo Gurus, Scientists, Hunters And Collectors, Midnight Oil, Models, New Order, Ganggajang, Screaming Jets, Dave Graney and the Coral Snakes, just to name a few.
For all booking enquiries:
Please go to the website www.nedbranchi.com
Or email nedbranchi@yahoo.com

is a Berlin based experimental musician, sound & visual artist, performer & composer.

From early age on he takes classical flute & theory lessons and then rapidly moves on to alto saxophone during high school and college. After going through the basics (Swing, Bebop, Baroque and Classical Music) he specializes on Free Jazz, Improvisation, Ethnic and Contemporary Music Schick starts taking every possible chance to sit in with semi-professional college bands. His skills and reputation grow fast and he soon is in strong demand as a lead alto player performing with prolific modern, free and avantgarde jazz groups and also helps out in swing, rock, reggae, or traditional brass bands all  around in Germany, Austria, France & Italy. At the same time a friend of the family introduces him to a vast vinyl collection containing anything from jazz, to the most far out avantgarde & Schick starts exploring and collecting music profoundly. His interest early on is free jazz, improvisation, electro-acoustic music, noise & punk, industrial, musique concrete and traditional african music. He starts experimenting with multitrack tape machines, broken records, prepared and manipulated turntables, effect boxes, found instruments and sound makers and produces frequently performances of his own music and collages. For those he often invloves local musicians and friends. His unusual output at the time in sometimes provokes controversial reactions between fascination, astonishment or complete rejection and makes him a pretty know local figure.

After college he studies at the Academy of Fine Arts in Munich and works for a few years for the contemporary composer & avantgarde pioneer Josef Anton Riedl.

Since late 1995 and when not traveling he mainly works and lives in Berlin where he becomes an active force of the so-called “Nouvelle Vague” and the experimental music” scene. During the mid & late 90ies his interest and activities strongly shift towards electronic music. After undergoing a long process of researching an ideal live-electronic set-up (he is testing hard- & software samplers, different controllers and selfmade devices, signal processors exploring material & field recordings) Schick develops a pretty unique, rather hands on and iconoclast audio-visual performance instrument which at the time he calls “Rotating Surfaces”. Objects and selected materials of different nature (wood, metal, plastic, paper or violin bows and cymbals) are scraped directly onto the rotating and the slightly modified/prepared metal plate of the turntable. The vibrations and frictions are amplified with a small condensator microphone and are then manipulated with several live-processing and re-sampling techniques. Sometimes and in addition video cameras project the visual effects on screen. Within a period of 4 to 5 years he has developed a pretty virtuoso catalog of techniques, sounds materials and tricks and performed worldwide with this unique set-up. With his "Rotating Surfaces" and other inventive set-ups he performs within many different genres of experimental music. His creative & musical curiosity is pretty much beyond limit, his taste & musical quality stand for a pure and raw beauty.  Musical risk, fragility & the acceptance of sonic accidents have always been important to his aesthetic philosophy. Since many years he favours instant live performance to canned music. Schick has been highly productive - stylistically his music comprises minimalsim, musique concrete, electronica, cut-up collage, instustrial ambiences, harsh noise to contemporary electro-acoustic improvisation and composition. Also he blends free jazz, electro-acoustic music with traditional music and works on his own fake folk forms with sometimes surrealist and dadaist notions. 

Recently he has strongly returned to composition, conceptual work, sound installations and writings. His ongoing interest for obscure collage, found objects, mechanical machines, calligraphy and lost archives have led into a vast body of graphic works, drawings, texts, collages, notations, photography & scores. In his visual and conceptual works he tries to  challenge perceiption patterns in general. Some of his pieces are rather absurd and full of paradoxes. Schick finds obscure ways to question & blur reality while pushing the art of story telling to its limit. Fictional outsider tales, myths and fake folk memory are obscured with reality.

Besides his numerous collaborations in small chamber music situations with an who is who of international experimental performing artists( i.e. Thomas Ankersmit, Claus Van Bebber, Andrea Belfi, Alexei Borisov, Sebastian Buczek, Maria Chavez, Phil Durrant, Jason Forrest, Limpe Fuchs, Gunnar Geisse, Christoph Heemann, John Hegre, Philip Jeck, Zbigniew Karkowski, Sven-Åke Johansson, R Keenan Lawler, Matmos, Seiji Morimoto, Aaron Moore, Toshi Nakamura, Andrea Neumann, Charlemagne Palestine, Mat Pogo, Dawid Szczesny, Martin Tetreault or David Watson to name a few) he is initiator/founder and/or artistic director of ensembles and musical collectives like Yemen Breakfast, Hawking, Ruf der Inakustik, KIM, Overdue, Perlonex, Snake Figures Arkestra, Tree People, Phosphor, Blind Snakes, Decollage, Berlin Sound Connective, N.I.E., ISEA (Ignaz Schick Electro-Acoustic Ensemble), The Berlin Experimental Band, Radio Nightmares, BETT4, Kim, ... He is part of the "Berlin Splitter Orchestra" and frequently collaborates/d with composers like Josef Anton Riedl, Matthias Spahlinger, Michael J. Schumacher, Sidney Corbett, Alex Nowitz, Oliver Prechtl, Sven-Ake Johansson, Oyvind Torvund, Christian Marclay or Otomo Yoshihide. He performs his own compositions and has received commsissions by internationally renowned soloists, ensembles, festivals and institutions worldwide.
Besides his electro-acoustic output he has learned/studied and/or performed with some of the World's finest jazz  & free jazz musicians (amongst others Johannes Bauer, John Betsch, Ernst Bier, Mwata Bowden, Don Cherry, Marty Cook, Tristan Honsinger, Paul Lovens, Amine Mesnaoui, Andrea Parkins, Jim Pepper or Johannes Schleiermacher, ...). Schick has toured, taught, researched and performed music and sound art continuously all over the World (Europe, Australia, the Baltics, Canada, Finland Hungary, Israel & Palestina, Malaysia, Morocco, New Zealand, Norway, Russia, Slowenia, Ukraine, USA, Russia, ...). 

He has published a fine discography on imprints like Zarek, Edition Zangi, edition x, Happy Zloty, Irrah, Potlatch, Bad Alchemy, Charhizma, Staalplaat, Nexsound, Non Visual  Objects, Improvised Music From Japan, Absinth, Ambiances Magnetiques, Let Petit Mignon, RCA or Mikroton. Ignaz Schick produced several sound art pieces and compositions for radio plays, film, theatre and dance companies of international reputation (Staatoper Berlin, Radialsystem, Sophiensäle, Volksbühne, The Place Theatre, Narodny Dom Ljubljana, ...) and worked  for (inter)nationtal radio programs like ORF-Kunstradio, ORF-Zeitton, RBB-Hoerspiel, DLR-Kultur. His music was broadcasted and streamed all over the world via stations like DLF, BR, WDR3, DRS, CBC Canada or HR. He also supported many smaller independent radio stations like Radio Student Slovenia, Radio Copernicus or WFMU New York. In addition he has established a reliable reputation as producer of experimental artists, releases and international tours and helped numerous sound artists releasing their music. He produced more than 15 albums on his own imprints Edition Zangi & Zarek and has been curating festivals of experimental music from the early 90s onwards (FAM, Erase & Reset, Time Shifts, The International Turntable Orchestra Akadiemie der Künste 2009 or Echtzeitmusiktage Berlin 2010 ...). Since 1994 he has received several stipends and grants for his compositions and sound art.  In 2011 he decides for a harsh cut & break in his career and completely focuses on finishing the work  on an extensive meta-theory and -language which he had started compiling since the year 2003 or 2004. An ongoing, vast and almost unmanagable enterprise & work in progress. "The Books" organizes and subdivides his conceptual work into six different books or thematic monikers (BoM, BoS, BoL, BoT, BoC, BoMo, BoP, ...) The first one [Book of Music] is a manifold compendium of strategies, resources & materials about structuring larger creative ensembles and was supported with a composition grant from the City of Berlin.

Since June 2012 he has devoted all his time and private savings to a 12 months travelling project (The Nomadic Year 2012 - 2013) which during the process became a pretty fierce, self-reflective and highly political satire and critique of our present time. In TNYP Schick is strongly scrutinizing human patterns of profusion & conspicious consumption. During a rather existential sabbatical year with pretty obscure and adventurous everyday occurances and despite two malicous thefts Schick originated an estimated amount of 1000 new works, slips & pieces (mainly diary accounts, writings, found objects, sound makers, collages, drawings, photos, compositions, lecture fragments, poetry, notations, scores, recordings, fictional tales, stories & myths) which are based on the intense and often limit-exceeding experiences of his one year vagabond trip through Central Europe.

Discography [Excerpt]
Ignaz Schick & Decollage - Lonely Woman - David Records 1996
Perlon - The Bad Alchemy Pieces - Bad Alchemy 1999
Perlonex - Perlon - Zarek 1999
Ignaz Schick - Tabit - Zarek 1999
Ignaz Schick & Decollage - Live Vol. 1 & 2 - Zarek 1999
Ignaz Schick & Andrea Neumann - Petit Pale - Zarek 2001
Perlonex - Peripherique - Zarek 2001
Phosphor I - Potlatch 2002
Perlonex/JuliJuni - With Enemies Like This Who Needs Friends - Happy Zloty 2004
Ignaz Schick & Jason Forrest - Blood Orchid - Improvised Music From Japan 2005
Perlonex/Keith Rowe/Charlemagne Palestine - Perlonex.Tensions  - Nexsound 2006
Ignaz Schick - Frost - Absinth Records (2007)
Ignaz Schick & Dawid Szczesny - The View Underneath - NVO 2007
Ignaz Schick - Butania Metallica - Edition Zangi 2008
Ignaz Schick & Martin Tetreault Live 33 45 78 - Ambiances Magnetiques 2009
Phosphor II - Potlatch 2009
Perlonex & Charlemagne Palestine "It Aint Necessarily So" Zarek 2009
Snake Figures Arkestra - Cooks & Devils 2009 Zarek
Ignaz Schick & Dawid Szczesny - Live in Geneva Zarek 2011
Andrea Belfi & Ignaz Schick - The Myth of Vision Revisited Zarek 2011
Tree People & Pokemachine - Split - Let Petit Mignon 2012
Echtzeitmusik Berlin - Mikroton 2012

Works & Compostitions (Selection):
Die Wüste bleibt leer 1993
Liebe macht blind 1994/1995
Puppy Love 1996/1998
Tabit 1998/1999
Amplified Body 2000 (with Snjezana Premus)
Metaflexes ORF-Kunstradio 2000
No Tea, No Dogs 2002 (with Snjezana Premus)
Astatic - für Resonanzkörper & Feedback (2003)
Rotating Surfaces 2004-2012
Stolen Moments 2008
Cooks & Devils 2009 (with Marcel Türkowsky)
Butania Metallica 2009
The Six Books (BoM, BoS, BoT, BoL, BoMo, BoC) 2009 - ∞
Hans im Glück RBB-Kulturradio 2009 (Götz Naleppa)
The Paiva River Collection 2010/2011
The Myth of Vision of Persistence Revisited 2011 (with Andrea Belfi)
About Electric Bugs & Other Strange Insects (Festival Experimentelle Musik München) 2011
Pastik Fantastik (with Sebastian Buczek) 2012
Leckermänner - Dichten in Fahrtrichtung DLR-Kultur 2012 (with Götz Naleppa & Natascha Nikeprelevic)
The Ripper [Archive] ORF Kunstradio 2012
IT: Crying Games Documenta 2012 (with Irena Tomazin)
Archival Drift DLR-Kultur 2012
The Nomadic Year Project 2012-2013

Objects, Installations & Concept Works [Selection]
Kratzen (Edition Zangi) 1990
Käseplatte (Edition Zangi) 1990
Wicklungen & Schichtungen 1995
Wannenbass (1995)
Reibemaschine (1995)
Nuts (Edition Zangi) 1998)
Mousemachine (1997/1998)
Flicker/Stutter (Garage Stralsund 2004)
Washing Aluminium (Friedhofskapelle Berlin, 2005)
Sheets & Shells (Studio P4C Berlin 2005)
Ghosts/Vibrations (Tesla Berlin 2006)
Oh Mali I Miss You (Berlin Fantastischer Zustand 2005/Tonspur Museumsquartier Wien 2010)
Vinyl Rockets(2010)
Rotary Perceiptions 2010-2013
Mates & Plates (2013)
Schiesser (2013)





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