"Collecting works of 'audio art' by Breece dating from late 1991 through early 1996, The Ballad Of Humanoid is an eerie trip through alienated interior worlds. Breece cites a screening of David Lynch's Eraserhead as an epochal event in his creative life. Indeed many of these tracks evoke that film's surreal landscape of isolation, madness and unease, in particular December 25th, in which (in his words), "the haunting gospel of my grandparents smothered in reverb" gives way to 'the assimilated raging of fire' (detailed and vivid annotations for these works can be found at Breece's web site). Mirage sampler is his principal instrument, one he uses in marvelously inventive ways, but Breece's speaking voice, usually treated in some way, is at least as important. I particularly enjoyed Blind, Is The Stone, a Beefheart-like piece which Breece describes as 'a conversation between a mangled cat and a pebble or stone laying at the side of the road... with the mangled cat expressing comfort in thinking that it is heading off to heaven...and the stone expresses its thought of the cat being ignorant of its beliefs.' Hmmmm." Jim Santo's (Demo Universe)

"Yeah, that's the one. I dug it. Iactually have the tape here at work, but there's no label on it. (you need to work on your marketing :) And there wasn't any address on the cassette label for that matter. But it's cool stuff. David Lynch soundtrack is what runs through my head. thanks for the tape!" Sharky Laguana (Creeper Lagoon)

"the formal education of a deity whilst under the influence of basic cable television" tape: spoken prose accompanied by minimal darkened atmospheres in the background, mostly synth with a hint of percussion and samples in places, these enhancements taking a very subdued place to make the spoken words dominant. had these sounds been louder it would bring this more into the realm of darkwave/ambient. these track titles should help you get an idea: "soul catcher: naked body in the woods", "the life and times of an embryo", "when glass could sleep". news reports from a tv channel dedicated to gloomy topics. had this release been out in the 1960's i'm sure it would have helped quicken syd barret's breakdown had he heard it. put this in and watch the fire department clean up the bloody accident in the streets below. DeonDdaMadLover (michael duncan) for (The Kettle Black)

DA: Who, in your opinion, is making some of the most challenging and rewarding music at the moment?

CD: Recently, I heard several pieces at an electro-acoustic music concert by composer Dirk Reith that completely knocked me out. Also, I just discovered an album, The Ballad Of Humanoid, by Michael G. Breece, a compelling monologist who shrouds his psychotic tales in murky bleeps, blurps and splinter-shedding drones. Christopher DeLaurenti (Dead Angel 27)

"The Formal Education of a Deity..." - An offbeat mix of sound collage, spoken word and ambient, this work is ideally suited for rainy days with the window open, candles flickering in mirrors, and possibly, good fine reefer if you're so disposed. Displaying a definite knack for creating a surreal, at times disturbing soundscape that recounts moments in the life of various odd characters and defining moments in their lives, (or perhaps one main character), "Deity" is a work of art that deserves it's own category in the bins of recorded sound. Somewhere between a film soundtrack, a "beat" happening, a montage from hell, and a soothing musical lushness, I'd say. Brilliant... Anthony Miceli (filmmaker/former guitarist-songwriter for Saint Vitus Dance)

"Akin to a late-night AM radio transmission from Mars, live and direct, penetrating your existence through the television static that glows and pulsates as you sleep at night, entering your blood stream by way of car exhaust spilling out of an intruder, threatening your perfect tranquility. This is but a means to an end for all that was once thought of. Suburbia never sounded so enticing!"