contact media discography projects about news
"Lilith's music is conceived from the standpoint of simplicity and resourcefulness, with Gibbons' artful approach to the musical potential of mundane objects and only very minimal production trickery substituted for industrial/noise music's curt, often messy impudence... Gibbons' Lilith tapes were dominated by an unsettling mixture of sparse, treated instruments and percussion, but with increasing truck given to a heavily conceptual approach to found sound and everyday objects (rocks on Stone, voice and breath on Redwing). Unlike many sound hackers, however, Gibbons prefers real-time manipulation, with single-track studio improvisations limiting generational sound experiments to arrangement and composition (although he does use computers, primarily for real-time processing)."

"Lilith is a set of deeply fractured soundscapes that take as their focus repetition of simple themes in novel ways. Lilith doesn't particularly strive to make a point; it exists in its own space and with its own goals."

"There are indeed others working in similarly esoteric areas, but Lilith's intensity, rigour, and imagination are unique."

"Lilith, or better Scott Gibbons has been delivering some of the more intriguing albums in the past twenty years or so. His older CDs on Sub Rosa are stand out classics. Two of those albums deal with environmental sounds: 'Stone' has just sounds from stones and 'Redwing' has recordings of air. This new name continues the series with all sorts of water sounds... However it's hard to recognize them if you don't know this before hand. Inserting the CD, playing it and then tell what this is all about, won't lead to an eureka saying 'ah water sounds, of course'... Dark, atmospherical music, but not too ambient, with sudden changes that add an academic, musique concrete feel it to it. Powerful stuff." (LILITH: IMAGINED COMPOSITIONS FOR WATER)
"You start to wonder if what you're hearing is the sound of water from an alien perspective, natural tones subjected to interpretive organs which have no correlation to our own eardrum."

Joel Whitaker, University of Dayton (LILITH: IMAGINED COMPOSITIONS FOR WATER)
"If there is anyone who is interested in newer art forms -- from electronic music to alternative performance practices, Lilith is a group worth seeing." (LILITH: IMAGINED COMPOSITIONS FOR WATER)
"a subtle atmosphere of water vapour ever ready to drench the listener with moist suggestion. Lilith's barometer must be a particularly sensitive one then as this release is airtight and secure. This is not a brash album as it tends to dart away from closer inspection like a puddle of mercury on an incline... The Minehaha waterfall is diverted through a bank of highly resonant filters, the resulting pressure giving the sound a taught elastic nature which is then set vibrating by the flow of the river. The 8th track reduces the Atlantic Ocean down to splurty little arpeggiated beats with a huge undulating tonal swell pushing the center of gravity far to the side before releasing its grip and allowing the hull to return upright again. Likewise, the final track fires up like an aging Kenmoore's rinse cycle, the stuttering loop structure adding a certain vulgarity to the sloshing about that I rather like... As a collection it quenches a thirst you probably were not even aware of.

"(5 out of 5 stars) The third installment in Lilith's "elementals" series, it adds water to the already covered stones (Stone, 1992) and air (Redwing, 1995). All the material used in the music of this CD has been obtained from field recordings of oceans, rivers and waterfalls across America... Through the use of simple filters (computer treatment is kept to a minimum), Scott Gibbons obtains a wide array of tones and noises, enough to create a whole disc of pulsating minimal electro and sweeping dark ambient with a nice analog feel and completely remote from its source."

"The source material is water, recorded at various rivers, lakes and oceans, sculpted into strange and diverse sounds while retaining the naturally soothing essence of the source."

"... Otherwordly wisdom transmissions of a most rarified and bewildering nature... You probably don't think you can listen with your muscle tissue, bone marrow and lymph nodes but you're going to have to if you want to fully appreciate this beyond music."

"... Alien, yet somehow familiar... A continuous feast of intriguing sonic wonders... Truly experimental constructions blending artistic obsession with a sense of fun..."

"Long before Aube made monochrome, single sound source records, Lilith made a beautiful record with just stones... The five live shows (partly?) captured here are full of collage like elements with tons of small events happening all over the place. At the times it reminded me of the digital sound processing normally heard on Mego records. The result is a captivating, one hour sound journey."

"... Deep sub-bass with an assortment of porous-sounding clicks and clacks, progressing into a miniature symphony of isolationist ambience. As with the best work by single-sample-only artists like Aube, the results are impressive -- not only in consideration of their sources, but from a pure-sonic viewpoint as well." (LILITH: FIELD NOTES)
"Highly conceptual but never boring, mastermind Scott Gibbons and cohorts examine the sonic possibilities inherent in minimal settings, often using nothing more than a single instrument effected, processed and looped to the composer's satisfaction. (An "instrument" for Lilith can consist of a stone, a homemade synth, or a tape loop.)... The production is so effective that you never smirk or blush at the sounds you hear; rather, like the best of Lilith's work, you lose yourself in a soundscape, alone with the minimal and haunting music."

"A seamless, shape-shifting river of synthetics and silence, squeaking & squealing its way into your brain! This is ambient music to say the least, but it's so much... more!"

Brian Duguid, EST Magazine (post to AmbientList) (LILITH: REDWING)
"... Takes ambience to the point of silence quite often... (There's) no doubt that Lilith has a much more carefully considered approach to ambient music that some others could learn from."

"Master of the sub-bass drone and the post-apocalyptic landscape, Gibbons' tendency to musical understatement is extraordinary: what he shows us seem to be empty wastes, still throbbing in the aftermath of some recent cataclysm. Not the event itself, but the trail, the marks showing where the deadly scuffle took place... Gibbons' skill at manipulating his material, much of it (in fact, all of it -ed.) derived from Rachel Wilson's voice, encompasses both vast landscapes and a microscopic perspective. Not much of Redwing sounds like other experimental music... But for sheer spine-tingling organisation of sound, I would place it up with the best electroacoustic music."

The Obscuritant (LILITH: ORGAZIO)
"...(A) brooding, insurgent composition which often lies at the edge of hearing - - punctuated throughout by roars and spurts of sound. Like the best Illusion of Safety and Hafler Trio recordings, Orgazio is a voyage within which the listener is swept away. The sound does not demand your attention, but involves you at deeper levels, playing almost subconsciously; and coaxing you away from where you believe you are.. Texture is the primary engine of Orgazio. The work is not obtrusive or urgent, but silent and invasive. The sounds do not draw attention, but neither will they remain at the back of your awareness or let you tune them out."

"There are some amazing sounds... and some genuinely alien ones - the treated pulsar radio signals of 'He', for instance, which sound like a desert being hoovered with an aircraft engine."

Alternative Press (LILITH: ACTIVITY BOX)
"... An ambient quagmire of ruptured synthesizing and spluttering percussion."

"The captivating magic and alluring beauty of Scott Gibbon's very unique blend of musique concrete, supernatural ritualistic recordings and meditative cadences were prepared live on this very special occasion for a broadcast over the airwaves."

Ozymandias G. Desiderata, Hyperreal (LILITH: STONE)
"Scott Gibbons' work is amazing. To say that all of the music on Stone was created using samples of stones, being crushed, sawn, rubbed, hit, or otherwise manipulated tells you nothing about what it sounds like. There is bass on this CD that puts those weeny Miami Bass Wars comps to shame. I have only heard it played once on a system that could handle the bass, and that did very strange things to my insides. It is spacey, it is droney, the production is immaculate. It is even musical and has very coherent composition. All with stones."

"It's a dada ambient album which flickers in your subconscious..."

D Alexander Bailey (LILITH: STONE)
"This disc gives the term 'rock music' new meaning - all of the sounds used were originally produced using stones, striking, scraping, grinding etc. A very intense record."

Ozymandias G. Desiderata, Hyperreal (LILITH: MANTLE)
"Mantle is something else. Created as the soundtrack for an installation, it would also work very well as the soundtrack to a rave for open-minded folks. The beats (when they exist) are phat, the guitar is distorted beyond any hope of recognition, and the groove is smooth. Plus, on the second side, it settles down into nice, very spacey ambience. Like being in a big, friendly cave."

Thomas Buck, "Mantle - An Installation" (LILITH: MANTLE)
"The sound we first heard was dense and sounded alternately like amplified heavy breathing and thunder. Slowly a repetitive pattern developed out of the seemingly random sounds. It had a slow pulse and became a fully percussive sound within a minute or two. It was a very regular rhythm, but every couple measures or so, half the rhythm would disappear. It was almost like an 11/4 or 15/4 time signature, but every now and then, there would either be a full measure where you expected there to be only half a measure, or for one cycle, there would not be any odd meters..."

"('Yungaroo' is) a fine ambient piece, it's somewhat akin to some Lustmord material, with a spooky atmosphere and clean, electronic tones setting the mood. 'Wootaroo' was recorded live in 1987, but instead of being rougher, it's actually more minimal than the studio recording. There were many moments when I thought the piece had ended, but groaning electronic tones would again surface briefly."

"Heavily processed sounds sweep from foreground to background, echoing and building upon themselves to create a lush aural landscape."

"Rooted in experimental electronics, this track is a step up in complexity... Fading loops and sounds riddled with reverb weave their way in and out of a textured soundscape. This is an interesting collage of sounds that's constantly changing direction throughout it's 15 minute duration."

"Lilith are the great unknowns, making excellent minimal environmental/instrumentation for the Sub Rosa label, 'Tributorium' is fifteen minutes of everchanging epic strangeness. A very intelligent and sensible tribute, by artists who should have done it, not the 'usual' and thus boring suspects."

Nicholas Ridout, Performance Research (SOCÌETAS RAFFAELLO SANZIO)
"The sound of Raffaello Sanzio is... distinctive... It's not really possible to say how it sounds, only that it does. Knowing what it sounds like is a particular kind of knowledge that only seems to be useful, or even exist, at the time of hearing itself."

"Scott Gibbons' music... feels as if it is happening inside your own head."

London International Festival of Theatre (TRAGEDIA ENDO-GONEDIA L.#09)
"To encounter Castellucci's theatrical forms, especially as they are inflected in the Tragedia episodes by Scott Gibbons' remarkable electronic music processed out of the human voice, is to feel yourself face to face with some sort of alien life form, which is, at the same time, profoundly and frighteningly familiar."

Romeo Castellucci (TRAGEDIA ENDO-GONEDIA A.#02)
"Imagine something which resembles madrigals for spacecraft."

Joe Kelleher, University of Surrey Roehampton (TRAGEDIA ENDO-GONEDIA C.#01)
"In what follows, it is as if the tremors and agitations of a range of places and moments, gathered up by a particular group of people, like bacterial scrapings from the face of the culture, are being worked through the guts of a localised machine, a theatre machine as we shall see. Here they will be re-circulated, pumped back into the everyday economy of screwed rhetorics and bruised representations, as a piece of unfinished business: a piece of beauty, perhaps, to choke the system; or a belligerent silence, to stop up the mouth of power, and make space and hearing for a new articulation. As for this sound that rolls around our chatter in the Commandini foyer, it is as if the voice as melody and tool of communication has been abstracted from itself, and the remaining vacuum occupied by the voice's shadow: its timbre, its audio static, its outer frequencies; all the clicks and drippings and passages of air through the vocal cavities amplified in the manner of endogenous sonic growths upon the vocal organs. For the moment we encounter an indifferentiated rumble like the groans of a machinic indigestion. Soon enough, though, this soundwork will be directed at us much more insistently, challenging us (like viewers of Rorschach blots or collectors of Raudive recordings) to recognise in all this something of our 'own,' while delivering us at the same time to the vertigo of our unsubstantiated imaginings."

"The music acquires an almost material reality... One is treated to see with the ears and to hear with the eyes. In that respect it is one of the most interesting works of musical stage that I could attend in recent times."

Yelena Gluzman, Emergency Gazette (IL COMBATTIMENTO)
"an excruciating embodiment of mortality, beautiful and nauseating, too-real... An opera with no story, no acting, but with music and the movement of objects... It was like watching my own recurring dream in someone else's face: disturbing."

"Subtitled 'From the Museum of Sleep', it is the closest a piece of theatre can come to a nightmare. Like a nightmare, any attempt to describe its impact crumbles into fragments of impotent language. The all-consuming images that had such power, such meaning, such fear when you experienced them subconsciously lose their resonance when the conscious mind steps in. David Mamet has described theatre as a way of dreaming in public, an idea which Castellucci takes to its most abstract and compelling extreme."

"To experience Genesi is to be pushed off the edge, into the super-reality of a nightmare, only to plucked up again, caressed with fragile beauty, tentative hope: a sensory shot straight to the veins, flooding the mind. A dramatic triptych constructed of moments of sonic and visual wonder and horror, it defies easy description, beyond language and narrative like an expressionist painting or musical movement. Genesi leaps from the first book of the Bible, wandering freely in time and space from Marie Curie's laboratory, to Auschwitz and the land of Cain. Its obsession is the blind terror of beginnings, the uncertainty that lies between creation and destruction, felt by the physicist, the politician, the artist, by human beings. Ideas are carved out in stage -pictures, sound canvasses and dramatic play of extraordinary imagination, in a major theatrical event, at once shockingly beautiful and seductively repellent."

"Never have I seen such an ambitious performance. Genesi is an epochal masterpiece which cannot be classified in any way."

DIALTONES: A TELESYMPHONY (with Levin and Shakar)
Chain D.I.K.
"200 people in the audience, 3 sound designers, 9 additional technicians, 200+ phones, 200 discrete channels of patched audio and a computer system that could trigger the sounds of these portable phones and play new custom-composed ring tones distributed via SMS... An audio-video matrix system allowed the creators of this amazing project to individually trigger (call!) these cell phones 8000 times in 30 minutes and at the same time light up the person whose handy is ringing in the audience and project a dot of light on two wide screens, while everything is also reflected by a 36foot/12meters wide mirror diagonally spanning from the stage to the ceiling above the people... A surreal third millennium scenario in which people can explore the sonic possibilities offered by the musical instruments, sort of an un-complete synthesizer, that one in ten people in the world have been half-unconsciously carrying around for the past decade in an ensemble context. Musically we are talking about a carefully choreographed cacophony of cell phone ring tones and dial tones producing everything from polyphonic drones sounding like a cello or a church organ hovering above the audience's ambient noise (coughing, laughing, talking, moving...) to sparkly mellow spatial chords sounding like frogs, birds, crickets or other bugs in the wilderness; from actual and logical electronic music improvised compositions with melodies to the loud cacophony of 60 (the maximum) hand-held devices ringing contemporaneously... Everything in between the two ends of the sonic spectrum is uncharted territory for new creations... One of the most forward-thinking records of this year!"

New York Press
"Far from stopping at the wonders of sheer geekdom, it also sounds great, making this one of those rare instances of computer-based music where the music is actually more interesting than the machines that made it."

Paul G Schreier, CommVerge Magazine,, DSP Newsletter
"If you expected to hear some familiar 'tunes' at this concert, you'd be disappointed. At most you might hear a familiar ring tone, because at one point Gibbons runs through all the presets in the Nokia phone, and audience members might recognize one and get a chuckle. At the only previous performance of this Telesymphony in Austria, the compositions more closely resembled avant-guard or new music, and the audience made primarily of musicians and artists could readily appreciate the artistic content. The same type of performance didn't go over quite so well with the Expo.02 audience, which consisted more of tourists and everyday people... Thus after the first few Expo.02 performances, Gibbons made the music somewhat less avant-guard and added extra rhythms and other musical aspects that made the concert more accessible and enjoyable for a broad population."

Keyboard Magazine (STRAWBERRY: S/T)
"If the tour buses of Missing Persons and Mötley Crüe crashed into each other at that tree on Dagobah where Yoda made Luke confront the Dark Side, the result might sound like Strawberry... Retro sci-fi noises, fat leads, ethereal textures, vocoderizing, and searing riffs help Strawberry walk the appealing middle ground between self-serious art-rock and bubblegum pop with aplomb."

Chicago Sun-Times (STRAWBERRY: S/T)
"This odd, ever-shifting ensemble has built a cult following for its absurdly ambitious mix of synth-pop, art-rock, and over-the-top theatricality."

Blastitude (STRAWBERRY: concert review)
"Chicago's Strawberry is one of the best live bands in rock today... I have it on good authority that the singer spent six hours the day of the show getting his hair done... That alone made the show totally worthwhile, not to mention his ability to pirouette with a guitar synthesizer...

Mammal Warzone (STRAWBERRY: concert review)
"Synthy rock Cosmopolitan."

Chicago Reader (Critic's Choice) (STRAWBERRY: S/T)
"...thank God for bands like Strawberry, a local act that prides itself on authentic fakery. Scott Gibbons and Jonathan Joe... formed the band more than a decade ago as college students, and it's gone through countless lineup changes, at one point mutating into the sadly overlooked glam-punk quartet Vanilla. When they revived the band in 1999, they also decided to meticulously prerecord their sets and mime their (extremely rare) live performances, the better to focus on their rock 'n' roll circus... They've gradually been bringing live instruments back into their stage show... creating a stereo image that should prove once and for all that art and artifice are one and the same."

Time Out New York (STRAWBERRY: S/T)
"Strawberry encapsulates society's euphoric state of denial with bitter lyrics masked by catchy tunes. These natural-born thrillers combine a hero's valor with a crook's fastidious intent, adopting a sort of yin-yang approach to their music. Inside the most pure design there's a speck of bullshit, and even the most corrupt idea contains a dollop of honesty. Strawberry's not saying which side of the coin they're on, but who really cares? Just set your mind on cruise control and enjoy."

Seth Sanders (Scene Report) (STRAWBERRY: concert review)
"Strawberry's three synth players, skintight matching uniforms, and smirking, overwrought soulfulness was so far beyond either a revival or a critique of the 80's that I have trouble expressing what it was like...maybe some kind of sick Platonic Form of platform-heel Space Fag God Rock... The show was so good I actually blacked out for a while... No I don't know what it was all about, only that I was privileged to be there."

Keith Cleversley (Producer - the Flaming Lips, Hum, etc) (STRAWBERRY: S/T)
"I discovered a little pop gem!"

All Music Guide (STRAWBERRY: S/T)
"A collective of underground artists and musicians, Strawberry became one of Chicago's primary outlets for experimental music after the turn of the century."

Dr. Royce Lee (University of Chicago) (STRAWBERRY: S/T)
"It's so twisted the mainstream might sweep it up for awhile, not knowing it's picked up a time bomb."

Dr. Woodrow Hood (University of Texas - PanAmerican) (STRAWBERRY: concert review)
"(Strawberry) are walking along some very fine lines. I love it. The theatricality, the coded references, the deliberate confusion of styles!"

Eleanor Balson (WZRD, Chicago) (STRAWBERRY: concert review)
"Strawberry was sickenating and extravagantly ecstasy-causing, but also... delicate, delectable and beautiful."

"...Orbitronik delivers a nice, bass-heavy dose of experimental techno with emphasis on old-school analogue equipment (those of you with a passion for those old TR808 drum machines will love this). Basically, these guys take every single cliche of the electronica genre, turn it around and come up in the end with a product that is not that far away from it, but spiced up with some more spacey and experimental elements."

"There have been several bands during the '90s that played with the basic Kraftwerk sound, bending it to their own devices... but to my mind none have blended the mix of '70s retro-sounds and '90s arrangements so well as Orbitronik. If you're a fan of Kraftwerk, or indeed any electronic music, this is unmissable."

Rolling Stone (ORBITRONIK: S/T)
"Members of Blackhouse and Lilith throw down crisp, Electro-influenced Techno swathed in unsettling darkness. Interludes of digital clicks 'n' buzzes disrupt the surface sheen, allowing the gritty underlayers of sound to show through."

Keyboard Magazine (ORBITRONIK: S/T)
"...Bouncy analog beatbox beats, which collide with ominous grinching and burpling noises in a way that's low-key, yet subversive. I like it, but I'm weird."

"From the fertile minds of Brian Ladd and Scott Gibbons comes this work of electronic landscaping, one of the most intriguing to come along in a great while. ...Orbitronik construct their music with precision and loving care. Nothing is wasted, no musical phrase left to wander aimlessly without a purpose." (ORBITRONIK: S/T)
"File right up there with Mouse on Mars, just about anything on Germany's Source label, and others fighting the good electronica fight."

"... In a sense, listening to Orbitronik from beginning to end becomes akin to leafing through an encyclopedia of computerized sound. Here is everything from the bleeping of early 80s synths and metallic tonalities, on to purposely distorted and decayed sound manipulations, and rich, saturated sheets of atmospherics... The sheer musical versality and wealth of sounds constantly offer something new for the listener to focus on, and it is all carried out with a sense of humor that is very refreshing."

Nightdancer (ORBITRONIK: S/T)
"Orbitronik...pure and simple, techno at it's best. I tell you, I bought this on a verbal discription and it simply did not touch how good this is. A lot of good 'work' material for remixes and then just straight out and out great dance tunes. Fourteen cuts and all just thump! Ya need this to help the floor move...or cleaning house. You move and you can't help it!"

Flipside Magazine (ORBITRONIK: S/T)
"As you might expect, the music is luxeriously textured, the beats are 'phat,' and it's got lots of funk. The bass will touch you all the way to your gizzard, and the organic quality of this electronica is breathtaking. Rarely does one hear electronic music sound this crisp, and yet this, well, wet. You can just hear the beats go 'sploosh' as they land. Incredible. Dave Allen picked a winner on this one. (Dave Allen, formerly of Gang of Four, heads World Domination Recordings, the label on which this is released.) "

Columbia House (ORBITRONIK: S/T)
"electronica masterwork."

Alternative Press (ORBITRONIK: S/T)
"From two guys known for their difficult noise, this is amazingly accessible and -- dare I say it? -- danceable. But these are not empty-headed grooves. The tracks overflow with fascinating sonic juxtapositions, like the clanging steel and winsome clarinet in 'Freedom Machine 2000' or the insect shriek and bebop sax of 'Get Carter.'"

Splendid EZine (ORBITRONIK: S/T)
"...A subtle-but-involving amalgam of jazz, world music and techno that doesn't follow tried and true dancefloor methodology and often varies more on a single track than some artists do on an entire disc."

Lumpen Times (ORBITRONIK: S/T)
"If you are thinking of techno music in the familiar blip-bleep manner, you will be sure to be lost when you encounter Orbitronik... A record of dance music made by artists who usually spend hours exploring a minute sample of a sound, or hours exploring the sounds of banging metal, will have a fresh and interesting approach to a new area of music."

Corridor of Cells (ORBITRONIK: S/T)
"...A really unique blend of electronica (with an experimental pop feel) and post-industrial sounds. This translates into songs being based around upbeat, old-school analogue rhythms and some pretty imaginative synth work and even more interesting samples (not to mention complex melodies). This is neither very heavy nor dark nor extreme in any way, but it is in its own way somewhat non-commercial and requires a bit more in-depth listening. Quite possibly it's the hidden complexities and subtle touches within each song that set this band apart from others..."

"...Big and bottom-heavy dub and abstract beats stride along the tracks, and an astounding selection of sounds percolate throughout."

Black Monday (ORBITRONIK: S/T)
"The music is original electronica full of glitter-beats. Think Gary Glitter with a DAT... Killer beats, freaky sounds, and alot of nonsense that messes with one's brain cells - Orbitronik is molecular!"

Lexicon (New Wave and Beyond!) (ORBITRONIK: S/T)
"...Orbitronik falls squarely into the experimental side of electronica. Not exactly aiming at the dance floor (although most of the beats are large) the duo instead seems to find delight in throwing bits of sound (found and otherwise) against a light sonic tapestry... Fat bass lines, squiggly nubbiness and enough breaks and rhythm changes to mistakenly label it drum 'n' bass. Very enjoyable, but not for the faint of heart or the impatient."

All-Music Guide (ORBITRONIK: S/T)
"...A distinctive sound, complete with touches of avant noise and a firm grasp of atmospherics."

"Driving forward almost every single track on the CD are rhythms and percussion of every shade and variety: funky, tribal, electronic, ethnic; sometimes deep and bassy, at other times clear and tinny; now dynamic and accelerated, soon slow and dragging. Often a track will feature several layers of beats in constant states of flux, sparking off in new directions at every turn and break."