British electronic musician Jliat (James Whitehead) is one of the most radical followers of John Cage's anti-musical ideology. His pieces rarely dwell in the audible spectrum: they either indulge in absolute cacophony or in absolute quiescence. He pushed LaMonte Young's minimalism to the extreme on 16:05:94 (Jliat, 1994), The Dancing Horse (Jliat, 1995), The Ocean of Infinite Being (Jliat, 1996) and The Nature of Nature (Touch, 1997).

Then he programmed the massive 70-minute electronic drones of Hilbert's Hotel (Jliat, 1998) and When We Focus on Nothing (Komrades, 2000).

The Grandi Series (Edition, 2000) is a CD that does not play any music (it only contains bits of information). This was the beginning of his adult phase, in which Jliat seemed to focus on sheer provocation.

Well Tempered Clavier (JLiat, 2001) is a deconstruction of Bach's masterpiece, which basically replaces Bach's technique of tuning with a technique of drum programming. Of Musicology Vols. 1-2 (Jliat, 2002) contains a lo-fi performance of Pink Floyd's Atom Heart Mother and Emerson, Lake & Palmer's Tarkus. Of Musicology - First Deconstructions (Jliat, 2002) takes the same pieces and disfigures them by using a computer algorithm and then releasing them on vinyl.

The EP Noise (Edition, 2000) contains four brief tracks of primal loud white noise, derived from recordings of American bombing campaigns.