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Sacramento-based digital composer Joe Colley debuted under the moniker Crawl Unit, specializing in generating sounds from negative feedback loops. After the somewhat erratic experiments of Proprietary Acoustics (1996) and The Future In Reverse (1997), he achieved an austere and mature balance of tones with the droning Everybody Gets What They Deserve (1999) and the almost serene Stop Listening (2000), a phase that culminated with the 19-minute Static For Empty Life (2001) and the two pieces of Sound Until The World Ends (2001).
His art of ad-hoc feedback-driven installations was refined on
Desperate Attempts At Beauty (Auscultare, 2003)
and especially the "industrial" symphony Psychic Stress Soundtracks (Antifrost, 2005), five lengthy collapse of noises from mechanical devices, acquiring expressionist overtones on Waste Of Songs (Oral, 2006).
Other works sounded too self-indulgent: Project For An LP Or One Method Of (Nearly) Avoiding The Composer (Edition, 2004) was neatly divided in two sides, the "source" and the "transformation", where the transformation was obtained via Cage-esque aleatory gestures.
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