Since the launch of his first CD Advanced Environmental Control in 1995, Marc Behrens continues to be in the forefront from the post-minimalist artistic current alternately known as lowercase or microsound — music that inhabits an extremely quiet area between electroacoustics and sound art. Among the main performers in the field (as well as Francisco López, Bernhard Günter, Steve Roden, and John Hudak), Behrens can be very active like a sound set up designer and a visual designer. He offers albums scattered all over the world, on Trente Oiseaux, Raster-Noton, Release…, Intransitive, and CMR, among additional brands. Few people understand that Behrens started his profession in the commercial cassette underground around 1989. Aged 19 at that time, and after 3 years of playing in jazz-rock organizations in his indigenous Darmstadt (Germany), he began his personal D.I.Con. label Animal Artwork, that was also the name of the task with Gregor v. Sivers. A lot more maximalist and collage-based, his music received hardly any recognition, nonetheless it represented only 1 facet of the artist’s multi-faceted skill. He exhibited his initial photographs around once and begun to collaborate with Ho. Turner on video artwork and installations. 1993 was a watershed. Behrens begun to test out acoustic feedback, producing some recordings that could serve as the foundation for several new parts (released on Lecture Reviews/Source Reviews/The Looks of Censorship). Finding unsuspected beauty and purity in the near inaudible, he changed his music around, today concentrating on field documenting and sound-producing devices. This marked the finish of his label (and persona) Pet Artwork — after seven tapes — and the start of studies in style, a discipline that could become nearly inseparable from his audio result. Advanced Environmental Control (1995) launched his new strategy. Released on Günter’s label Trente Oiseaux, it helped set up the shockingly fresh esthetic from the after that very young organization (Behrens also designed its 1st album addresses). In 1996 the produced his 1st tour like a audio artist as well as Günter, López and John Duncan. His status grew continuously in avant-garde circles therefore do his discography. To his Western releases he quickly added a Japanese Compact disc (Contraction, 1999) and another released in america (Elapsed Period, 2001), where he also offered installations. Even while he also held a minimal profile within the minimal techno picture as Eyephone, with produces on Hypnotism and a cooperation with Atom Heart (Micropossessed, 1997). In 2001-2002 Behrens was scavenging his aged tapes to discover material to make use of as audio source, as presented on Elapsed Period and Transition.