It’s near a sure bet that, in least in neuro-scientific electronic music, zero other artist’s name makes quite seeing that much sense seeing that Share, Hausen & Walkman — a triple pun embracing pioneering electronic composer and theorist Karlheinz Stockhausen, the ’80s pop-by-numbers creation team Share, Aitken & Waterman, as well as the ubiquitous lightweight cassette participant manufactured by Sony. The sampling duo of Andrew Sharpley and Matt Wand may actually have been inspired equally by each one of the three, leading to bizarre collisions of cut-and-pasted pop tracks, sound, tape-hiss, and a recognized avant-garde sensibility about the sampling technology (and legality). While laughter hasn’t been totally absent from electronica, the set also helped deflate the pomposity of the most common ensemble of navel-gazing bedroom manufacturers, whether it’s launching a seven-inch one comprising 42 locked grooves, product packaging cassettes in Grain Krispies luggage, or including images of pornographic handmade cards using their Body organ Transplants album. During the group’s development in the past due ’80s, these were an experimental/improv quartet comprising Sharpley and Wand plus cellist Dan Weaver and guitarist Rex Casswell. They performed at Derek Bailey’s demand in 1990, but begun to fracture when Casswell still left and Weaver started taking documenting time-outs to execute for dance and theater aswell. The trio shaped their own HEAT Records and started releasing an array of albums (taking into consideration their sample foundation), from plunderphonic easy-listening body organ music to loss of life metallic. The debut LP QUITTING with Share, Hausen & Walkman premiered in 1993, adopted two years later on by Hairballs — packed inside a fake-fur wrapping and including photos not really intended for kitty lovers. Weaver remaining around this period, though Wand and Sharpley continuing on with an album-per-year launch schedule (excluding the live LP, 1995’s End!). The Beastie Males became captivated by Share, Hausen & Walkman’s idiosyncratic method of recording (in an identical fashion with their desire for Alec Empire’s Digital Hardcore Recordings) and asked the duo to remix the Grand Royal group Buffalo Child. Sharpley also information for HEAT in the greater dance-oriented Dummy Work.