“I think Volvox is really outside of most things and most categories. That’s what attracted me to them immediately. You know, what are we listening to? What is this? Who are these people? That’s the stuff that I love and they were just outside of everything, outside of the experimental scene for sure. Even though people in the scene were supportive of them and loved them. I just think they were very very different. It was just very strange.” - Oren Ambarchi Volvox were one of the most extraordinary bands ever to emerge from Melbourne, or in fact anywhere else. Unfortunately for the rest of the world, during their short existence (1991 to 1996) they never played outside of said city. Luckily for you dualpLOVER and SPILL have taken it upon themselves to re-issue their back catalog in an effort to preserve the recorded history of one of Australia’s true outsider outfits and to help its legacy grow outside of the few who saw them play or brought the original cassettes. Describing the unsettling nature of the Volvox sound is somewhat difficult without pointing out one unmistakable feature, the vocals style of Anthoney Riddell (aka 'Lester Vat'), their all-stumbling neurologically damaged front-man, whose infamous fall at the Redfern squats in the late 80s left him in a coma for months, and then with a significant movement disorder. However unlike other bands that have had physically or mentally-impaired members, his involvement was in no way token. Anthony was actively involved in the Sydney noise scene long before his accident, most notably with his project The Good Chamber who some Sydneysiders may remember through the Cosmic Conspiracy tape label. The bands line up also included Dave Taskas (GRONG GRONG) , Glenn Norman, Christine Thirkell + various guests. Ex Used condition

The 'Phonetic poems" were conceived in 1917, simultaneously and without much knowing with the russian futurists discoveries of Khlebnikov et Iliazd - with the cosmic sorcerer and trans-rational language 'Zaoum' (1913), Hugo Ball at Cabaret Voltaire (Karawane, 1916), then Kurt Schwitters (Ursonate, 1922). All these artists-poets were inventors (or re-discoverers) of an mediumnic ultralanguage where primordial inter-ethnic and mythological sounds precede meanings, in order to redefine human communication and to connect to the multi-dimensional. Foreshadows of sound poetry and performative action poetry, these 'Phonetic Poems' are still there, miraculously preserved thanks to some recordings made in 1955 by the house of Philips, then 1959 by Bureau and in 1966 by Henri Chopin, in Limoges where Hausmann had settled in 1944.