Transatlantic Remixes (Currently In Progress)

Transcending conventional boundaries of the Space-Time continuum, Norm Scott and Sherwin Jones continue trying their darndest to exploit and abuse the excesses of modern technology. By miracle of the digital revolution and the information super by-way TSR continue to push the boundaries of that old "I'll twiddle with yours if your tweak with mine" business of free-mixing. TSR are turning over a new leaf with this one, the tracks becoming more intentional and layered, but no less palatable as a bit of booty shakin’ beats n grooves are injected into the usual barrage of chaos and noise

The Bedknob Tracks (Recorded July of 2003)

Typical of quiet, suburban America, lurking behind all the well trimmed hedges, Walmart vinyl siding, 2.5 cars and a well stocked garage lies a shadowy realm of fear, paranoia, narcissistic masochism, and the all possessing hatred of "the other". But as we at TSR know only too well, that frightening specter of "the other" is little more than your own reflection twisted and distorted through your Rayban sunglasses as you pop open another beer and flick the mute button on the remote control of life. On this otherwise sunny summer day, TSR converged on a quiet, nondescript suburban home to summon all their electro acoustic powers to cast out and banish this fearful boggy once and for all. More intentional than previous ventures, and bringing to blossom previously undiscovered pop sensibilities, the Bed Knob tracks cover the gamut of dour, pre-apocalyptic drone-scapes, folkist deconstruction, ethereal coral compositions, candy land Casio jams and sometimes down right silliness for silliness sake.

Power Outage (Recorded June of 2003) DJ Cunky Nutz special guest appearence!

After several years roaming the earth in political exile, Sherwin V. came home to roost, reuniting with Norm Scott for an all out, robo-static, half hour electro jam in Norm’s basement studio. The resulting waveforms and vibrations literally took out the power for half the population of Charlottesville, Virginia. Spared from the resulting chaos only by the shimmering blue glow of the an LCD screen, Sherwin and Norm took a brief intermission for their music making merriment to emerge from their hide-a-way to loot local electronic and appliance stores, making off with enough turntables, vocoders and beat-o-matic blenders to have even Thomas Dolby soiling his shorts in sheer envy.

Millenial Fervor (recorded spring 2001)

During the spring of 2001, more than a few dodgy characters spent their mornings, late afternoons, and assorted evenings hunkered down in the ancient listing Keezell building just down Main Street from the courthouse. Several of them emerged with a collection of .wav files with which to entertain their friends and neighbors.

Norm Scott's studio on the fourth floor was the host of all this madness, which included many jam sessions of hyped electronic loops and barely intellegible vocals. We also tried our dirty hands at parody, but didn't venture into the fold of the 'Wierd Al' crowd: instead, our faux-compositions were mainly an attempt to add eerie shadows to the crescent faces of the great old ones, whose stone likenesses lined the horizons of our collective subconscious. When the crows scattered, a part of the town went with them, never to return, but if a curious traveler would venture down the old Main Street, that pilgrim might still hear echoes of ghosts who mutter legends to themselves. It's worth a shot. Anyhow, these original tracks have been preserved for posterity on hard drives and compact discs, part of the diaspora of sound that will arise united from its self-imposed exile when the project is finally finished. Until then, TSR shall maintain its grand vigilance over the gallant archives, holding its place, an island fortress in the vast churning sea of apparent reason.

Here the track "All the Streets..." speaks to the malaise of the popular ethos which the Keezell Building guild eschewed. Obsessed with the borderlands, the fringes of the rural Virginian environment, we took to the mountain forests, blending musical composition with visual archaeology. Among those great peaks, or in the dilapidated frames of condemned structures, we found riddles to subvert some of the new media's frank answers. And the frogs who watched the exploration parties croaked in contempt and satisfaction. Yep, the old boys were at it again. They'll never learn... --Justin Stoltzfus

Monkey #@!%&!? Sessions (Recorded Fall 2000)

For a brief but legendary period in the history of sleepy Harrionburg, Virginia, a cabal of musical misfits, local artists and random vagrants convened on a weekly basis to systematically demolish all know boundaries of musical taste. Membership rotated between the ever present, the willing and those who could manage to ascend the withering heights of the fourth story studio of Norm Scott in the Kezzel building, downtown. These regular meetings of mind, body and soul generated hours of the most unlistenable sonic sludge ever generated by human kind. But even amongst the chaff, pearls were to be found: The 20 minute long decomposition of that holiday classic "Silent Night" via sampler, delay box, Casio keyboard and out of tune singing that had the old hippy living next door pounding the walls in terror. The found-sound acoustic improv that left the studio covered in glass shards, cigarette butts and Elmer’s glue. Not to mention several mutant blues jams, featuring off-tempo scat singing by the neighbor across the hall, that'd have Muddy Waters spewing bile in his grave. Aside from the devilish doings of the Masonic lodge next door, the only real problem was how to keep the neo-Nazi red necks, living in the old girls bathroom, from overloading the circuit breakers with their curling irons.

Live From The Bunker (Recorded Summer of 2000)

Playtime (Recorded Spring 1999)

The first ever Terminally Sonic sound session conducted during the final year of Norm and Sherwin’s unsavory careers in higher education. Originally concocted as the backing soundtrack for Sherwin’s “Wreckage” installation on the quad of James Madison University, Sherwin and Norm set a new standard for sound collage chaos as they fed all know forms of lo-fi, thrift store, found-sound, battery powered noisemakers through a gauntlet of effects and manipulations. In the resulting hour, Tweety bird hiccups spastically at half speed over backward masked Sunday sermons as Casio beats ping-ponged nauseatingly in time with broken, bad ass beat boxing. Though “Wreckage” burned brightly only for a night, the recordings still carry on.