Here I am, for the fifth time, facing this impossible task no one has asked me to do. How can one bring together the history of electronic and concrete music to the history of noise music? For this volume, I want to highlight pieces illustrating a technique (Claude Ballif's 'Points, Mouvements'), a country (Shur, Op. 15 by Alireza Mashayekhi), a studio (Helmut Lachenmann at the IPEM), there are also historic (François Bernard Mâche's Prélude), and radical (Spectrum Ripper by Masonna) works that have ripped apart ancient definitions.

All this organized with Internationalism in mind and, for once, a focus on the voice - not as sung words, their traditional facet in music (from pop songs to lieder and operas), but as the word itself, recited, distorted, rendered abstract or disaggregated and screamed (the incantation so often a part of rock and noise music).

"The Sub Rosa compilations are dotted with a who's who of the electro-acoustic avant-garde from the past century, tossed in with a smorgasborg of previously unknown (and often very interesting) artists as well as contemporary musicians who are well on their way to establishing themselves within the canons of the institutional avant-garde. Sub Rosa has gone out of its way to compile a collection to scramble one's notions of the taxonomic rhetoric that may influence the perception of any of the artists present..." (Aquarius)