(Translated from my original Italian text by ChatGPT and Piero Scaruffi)

David Lee Myers, a solitary experimental musician from New York, composed symphonies of feedback using machines of his own design. His music was so extreme that it recalls Helios Creed and the early Throbbing Gristle, but without any sense of rhythm.

The cornerstone album is Engines Of Myth (ReR, 1988 – ReR, 2003), a summa of his private experiments that connects to the electronic music of the 1950s–60s (Stockhausen, Tod Dockstader, Pierre Henry).

Myers conceived the recording studio as a painter’s studio. The two cassettes of Feedback Music (Generations Unlimited, 1988 and 1989) and the 100 Tapes Project (1988) comprise 48 improvisations, each lasting 30 minutes. Some of these performances were later released on Arcane Device 6+4 (Staalplaat, 1993). Improvisations (RRRecords, 1988) contains two singles.

He makes no compromises, not even with Diabolis Ex Machina (Staalplaat, 1992), truly immersed in a jungle of noise, perhaps one of the most cacophonous albums of all time.

Half of Fetish (Silent, 1990), namely the suite Penetrating Black Ice, and Trout (Silent, 1993) instead show a gradual softening of his ideology, but remain works dominated by tape delay and electronic reverbs.

Also Sprach Zarathustra (Anckärstrom, 1991) leans toward cosmic and ambient music and could be his masterpiece.

Envoi In Cumin (PlayLoud, 1993) collects a live performance.

DBL_FDBK (Stille Andacht, 1993) and Speiseleitung (Staalplaat, 1996) are collaborations with Asmus Tietchens.