The sudden jolt of pxp peeled open all collected ears. Here was a jutting mass of
digitized disturbance that fueled our direct reckoning with destabilized mathematics.
Think of equations which create anarchy instead of assert order, and you?ve only
begun to approximate the experience of what it?s like to listen to pxp As these
unrelenting punctualities seemed to progress, it's divergence from pxp's Farmers
Manual-like alignments seemed malignant. Spam data malformations. Direct waveform
bitstream. Seizure. Disengage. Smitten. 

taken from Striking a Balance: Statement of the Digital Musics Jury, ae 2002


PXP | while(p){print"."," "x$p++} [Wavetrap, CD]

Listening to 'while(p){print...' whilst travelling to Mutek 2002 in Montreal
is a curious experience. Its harsh distortion cutting abruptly to the
endless stream of automated airport announcements, it's the perfect marriage
of the intelligible and unintelligible. The sound of communication drifting
in and out of phase, a weak signal momentarily lapsing.

The audio, characterised by shards of data, raw waveforms and abrupt
digital landslides, is unquestionably a by-product of Farmers' Manual
peculiarly packet-driven vision. An uneven terrain of intermittent melody
parsed beyond recognition and polyrythmic acrobatics overlaid with
blanket-coverage static and hiss.

To list track titles would be pointless. A less than intelligble mass of
multiple-keystroke-characters culled from obscurity, their purpose is as
mere pointers, suggesting future data drifts from the infinite stream
of zeros and ones that comprise what constitutes communication in today's
information saturated world.

Appropriately 'while(p){print...' comes accompanied with a warning
that it "may generally contain impure data." Hardly surprising and instantly
verifiable - the procedure is simple: switch on and interlock with your
surrounding data-soaked environment; "...last call for Flight No. QT284 to
Montreal Durval, boarding at Gate 14. Would all passengers please proceed


{taken from newsletter %Array | F.0015.0008}

Date: Sun, 10 Nov 2002 16:38:19 +0100
Subject: WAV04 - Absorb

album: pxp
while (p) {print"."," Òx$p++} (wavetrap)

avid social comment on the descent of communication from intellectual 
debate to base level interactivity between machines, social 
interaction's resurgence through creative machine orientated waveform 
discourse, or just a couple of blokes fucking about with static. 'the 
department for penetration and perversion' or, 'pxp' for short, have 
obviously spent a long time twiddling their knobs.

for those interested in waveform manipulation, and dc offsets, 
dynamics and cutting extremism, this is essential, for someone after 
music in its less random progression, this ain't axelrod.

'while (p)....' borders on self-indulgent, mindless crap, but after a 
while it becomes incredibly hypnotic, and manages to make something 
so utterly mechanical and....well, static, actually quite listenable, 
and with intricate angular beats aplenty, it's a real prize for all 
noise heads. though, it may be an idea to listen to things like dj 
scud, hrvatski, venetian snares, speedranch, atomsmasher etc before 
veering off down this otherwise intangible web-road of noise. 
interesting to listen for a whole 17 track albums worth, but.... 
where the hell am i? and what have they done to my mind?!

reviewed by ralph cowling

Date: Mon, 11 Nov 2002 15:39:13 +0100
Subject: WAV04 - Rumore
zooebap 008.DICIEMBRE2002
( 10 de DICIEMBRE / 09 de ENERO 2003)

PXP: "while(p) print{"."," "x$p++}"
(Wavetrap CD) - txt: Lerio González

Al presionar Play, tengo la sensación de que el disco me da una 
especie de bienvenida. Me alerta de por donde irá. El primer track 
puede ser oído o bien como una "masa uniforme de sonido continuo", o 
como la superposición de todos los tracks restantes, uno sobre el 

10 minutos después todo está más calmo. Y empieza el desarme. Los 
ritmos no cuadran, pero no llego a darme cuenta si eso es algo 
natural o algo forzado. Me pregunto si será esta otra forma de 
composición, o un intento de eludir la composición estándar.
Cuando el disco baja hasta una especie de ambientismo perturbador, se 
queda ahí, medio enquistado. A esta altura está claro que no se 
muestra amable, pero que es bastante más amistoso que al comienzo.

Muy a su pesar, le encuentro un concepto al disco. He leído algunas 
veces eso de Farmers Manual como los defensores del "No Concepto" (y 
éste es el debut de uno de ellos), pero creo que comienza difícil, 
arduo, continuo, para terminar sonando como la antitesis de ese 
comienzo: espacioso, fácil y hasta armónico.

Algo así:

__________//// . / ./ . /.,.\,.,\^Ê\ / / ;::////.^.^: ......... ....^
......../// .\ : ::::::
................................................................... \ 
;::////. ...^.^:..,.:::^Ê,,.. . . . . . .



pxp while(p){print".",""x$p++}.(Wavetrap) wav 004
If Kraftwerk built their own synthesisers, then pxp made the components.
This 17-track collection of blips, bleeps and polyrhythmic sound filters
are the unlikely sound of your office equipment having a chimpanzee's
tea party. There's no musicality to be found on this release, merely the
haunting, lonely drones of analogue filters, wave transmissions, DC
offsets and perhaps mobile phones, who knows? The overall effect however
is distinctly queasy listening. The sound of bare-naked technology is
desolate and haunting when strung together like this, eerie and
frightening, would be two other more sobering descriptions. I'll never
look at my fax machine in quite the same way after this.

PXP | WHILE(P){PRINT"."," "X$P++}
CD, Wavetrap / Staalplaat

How far can you go? Call it glitch-to-the-xtreme, call it extreme computer
music (that's what the bio prescribes), call it what you will. Fact is that
not too many people would consider PXP music. Fuck, the first track is
minutes and minutes of loud static, and only static. I'm used to some
serious experimentation in sound, but this goes too far, even for my
standards. I also think it's a bit too easy, because the static isn't
representative for the entire album. As the album continues, the static
steadily decreases in favor of electronic noises and dubby echoes. Sometimes
even a thing that reminds of a beat cares to drop by. Not for long,
unfortunately. With a bit more musical structure it would have been a much
more enjoyable event. And except for the first track, the rest of the
musical efforts are not as extreme as for exampleTeleform, who managed to
create a complete album bordering the fine line between music and sound. One
thing stands out: PXP is the embodiement of human absence. The computer has
taken over, no need for human emotions whatsoever. Seen from that point of
view, PXP draws a frightening landscape filled with grey concrete factories
and huge computers, with no place for mankind. Scary stuff.
by Bas Ickenroth

PXP - while(p){print"."," "x$p++) (CD, Wavetrap)

Scheiße, die Anlage ist kaputt! Stimmt natürlich (noch) nicht, aber PXP
haben die ideale Platte abgeliefert, Eure Freunde zu ärgern oder Papis
Anlage den Todesstoß zu versetzen. Das treibt selbst harten Noise-Fans die
Tränen in die Augen. Das erste Stück klingt so, als wenn Ihr einen schwachen
Radiosender eingeschaltet habt und dieser geht in rhythmischen Zuckungen im
Rauschen unter. Bei Stück zwei gibt es zwar eine kurze "Ruhepause", in der
es nur sanft gluckst, aber schon kurze Zeit später gibt es wieder voll auf
die 10. Zum Glück geht das aber nicht die ganzen 70 Minuten so.
Wer die ersten Stücke überstanden hat, dem präsentieren sich wesentlich
entspanntere Klangwelten die sich ganz grob als Ambient beschreiben lassen.
Alles wirkt merkwürdig kühl - verkopfte Frickelmusik halt. Nurse With Wound
lassen grüßen.
Ich kann mir die Klangbastler so richtig bildlich vorstellen, wie sie
hornbebrillt daheim an ihren Maschinchen sitzen und an jedem Bleep feilen.
Schwer zu sagen, zu welchen Gelegenheiten man diese Musik zu sich nehmen
sollte. Beim Aufräumen, Abwaschen oder schreiben rauscht sie vorbei. Partys
lassen sich damit sicher sprengen. Konzentriert hören kann man PXP
eigentlich nur, wenn man genauso fertig im Kopf ist, wie die Macher oder
unter Drogeneinfluss steht (was ich natürlich nicht gut heißen kann!). Oder
einfach Avantgarde-Künstler ist. Wenn jetzt die Vermutung aufkommt, dass mir
PXP nicht gefällt, so ist diese Vermutung eindeutig falsch. Schließlich bin
ich ein großer Fan dieser Freaks, die aus Knistern und Blubbern und anderen
aus ihrem Computer gezogenen atonalen Versatzstücken was Brauchbares
erzeugen. Wie man allerdings drauf sein muss, um solch abstrakte Musik zu
erschaffen, wird mir ewig ein Rätsel bleiben. Die Website des Labels gibt
auch keinen Aufschluss über die Künstler. Alles was man da bekommt ist
wunderbar konfuser Datensalat (s.,
richtig schöne Muster auf dem Bildschirm. Post Pop, Post Ideology? Die Welt
ist verwirrend. Das Leben ist seltsam.

Titel: 17 Stück, Namen Fehlanzeige

Date: something like nov 2002
Subject: WAV04 - Octopus
Date: 200301
Subject: WAV04 - Grooves