Courtis played guitar in Reynols, a post-psychedelic group formed in 1993 and featuring drummer Miguel Tomasin and guitarist Roberto Conlazo. They released all sorts of odd material: Gordura Vegetal Hidrogenada (1995), Bolas Tristes (Matching Head, 1996), Roto Chivas 268 (Matching Head, 1997), Oreja de Tipo Oreja Simbo (Gurteltiertapes, 1998), Loh Fenser Patagonia (Semi-Roar, 1999), the glorious EP 10.000 Chickens Symphony (1999) for chicken sounds ("the only record in the world where all the participants were killed and eaten afterwards"), Peloto Cabras Mulusa (White Tapes, 1999), Sonirdo de lo Mofifero (American Tapes, 1999), Lo Cabachua lo Come de lo Conejo (Spite, 1999), Polos Mosco (Polyamory, 1999), Pauline Oliveros in the Arms of Reynols (White Tapes, 1999) that remixes a 1994 Oliveros performance, Blank Tapes (Trente Oiseaux, 2000) for amplified blank tapes, the garage-rocking ------ (Black Bean & Placenta, 1999), Minecxio (Freedom From, 2000) with Oliveros, Barbatrulos (Freedom From, 2000), Lo Pollo de lo Vivos (Childish Tapes, 2000), Pauline Oliveros in the Arms of Reynols (Cream Gardens, 2001), a collaboration with the avant-accordion player, Pupola Ridos 192000 (Valuba Mafiforo, 2001), the double-disc of garage-rock Reynols/ No-Reynols (Freedom From, 2001), the garage-rocking Pacalirte Sorban Cumanos (Beta-lactam Ring, 2002), the mini-album Fire Music (Digital Narcis, 2002), devoted to the the sound of fire, the mini-album Rampotanza Ronil Grodorempelente (Locust, 2003), that collects field recording of jackhammers, the garage-rocking Sosina Arada Mica (Celebrate Psi Phenomenon, 2003), Pacallirte Sorban Cumanos (Beta-Lactam Ring, 2003), the jazzy three-volume series Jaz Ronco Japi Javas (Valuba Mafiforo), the three-movement Whistling Kettle Quartet (Sedimental, 2003), Plays The Eiffel Tower And L'Arc D'Triomph (Black Bean & Placenta), etc.

The solo career of Courtis began in parallel with Reynols and is no less prolific: Poliestireno Expandido (Matching Head, 1996), The Distorted Micromoog Atofia (Komkol Autoprod, 1997), Eating an Estufa (Freedom From, 1998), Greatest Hits (Lonely Whistle Music, 1999), Albumina Blues (Freedom From, 2001) for droning sounds. Harmonica F'ever (Jewelled Antler, 2003), Fractal Albur Solenoide (23 Productions, 2003), etc. Courtis continued to experiment with extreme forms of sound, encompassing just about any collaboration that he can conceive, and mostly enacted via lengthy EPs or cassettes that contain only one piece: the 12-minute Tribute to Calcium (Tonschacht, 2003); the 45-minute North and South Neutrino (Antifrost, 2004), a collaboration with Norwegian musician Lasse Marhaug of the ensemble Jazzkammer; the 20-minute ambient guitar noisefest of Y El Resplandor De La Luz No Conoce Limites (267 Lattajjaa, 2004); the droning Transistores de Aire (Conv, 2005), a collaboration with another Argentinean musician, Pablo Reche; Kokura (2006) with Makoto Kawabata of Acid Mothers Temple; etc. Plus the new solo releases: Los Alamos (Celebrate Psi Phenomenon, 2004); Recycled Music Tape (RRRecords, 2004); Suite for Processed Marimbas (Audiobot, 2004); Presencia de lo No-Manifestado en lo Manifestado (Astipalea, 2004); Antiguos Dolmenes del Paleolitico (Sedimental, 2006); etc.

Courtis' Tape Works (Pogus, 2006) collects works for tape of the 1990s: the ten-minute Asma de Tia de Alga (1994), Rastrillo-Termotanque (1995), Jarabe de Llanura (1996), Respire' un Cordero (1994), the eleven-minute chaotic cacophony of Reducido a Hemorragia de Merluzas (1995), Studio for Wire Plugs (1991), Invisible Clown Sonata (1998), and especially the 16-minute expressionist nightmare of Enc¡as de Viento (1996).

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