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Éric Létourneau rencontre Richard H. Kirk
Éric Létourneau : Richard H. Kirk, you seemed to travel to collect video images. Would you also collect sounds from your travels ?
Richard H. Kirk : Mainly, actually, collecting images with the Super 8 film rather than sound.
É.L. : Do you use the sound from the Super 8 films ?
R.K. : No. Silence.
É.L. : I've been listening to - almost - all your CDs ... and I am also familiar with ethnomusicological CD recordings. You're one of the few artists I find really hard to know the origin of your samples. I was thinking that you were occasionnally doing some recording of traditionnal music.
R.K. : Good! (laughs). That means I won't get into trouble from copyright!
É.L. : I was wondering if you were collecting these sounds by yourself - or if you had a special relationship with some mysterious ethnomusicologists…
R.K. : I'm kind of stealing it from records. I used a lot of sounds from West Africa (mainly Ghana) which is one place I visited five years ago. I like African singing and percussion very much. I think it brings a warmth to the music because kind of electronic music can sometimes be very soulless and cold but when you start to add this kind of African voices then, you know, it becomes much more human.
É.L. : It gives a feeling of timeless also. A timeless music... You really feel this music can come through ages. It's not connotated as purely electronic music from the 90's … It sounds timeless…
R.K. : Yes. It's a nice comment.
(L'enregistreur mini-disc produits quelques sons… Richard and Eric are looking at the mini-disc.)
R.K. : Minidisc players make a noise, you can hear the disc moving, mine does.
É.L. : Would you sometimes use these sort of electromechanical sounds in your music ? I noticed your love for the use the digital distorsion in your Cd's, by overloading the DAT while recording…
R.K. : Yes. I've been working with a lot of short wave radio sounds for the past year and a half in some music that I've done and I've got a short-wave receiver and when you connect it to the mini disc player, you can hear an interference on the short wave, some kind of digital interference which is why they won't let you use this on an airplane, because it must transmit some frequencies or something.
É.L. : As I told you earlier, I want to talk about globalisation, (in French we say " la mondialisation "). I wanted to discuss this subject because you seem to be one of the artist who pionnered " video scratching "by using international news and sounds from electronic medias- what is probably an important manifestation of globalisation. I would like to give to you some topics about that theme… then, you can just tell me what you have in mind when I . . .
R.K. : How would you define globalisation ? Just to be clear, what we are talking about ?
É.L. : A professor named Petrella, a specialist of mondialisation, considers that this phenomenon is a sort of "new world order", like the phenomenon of industrialism was at the end of the 19th century. There are many ways that globalisation is taking it's place now, the way we communicate with each other really quickly through the net, the internalisation of economy, free-trade, the way that individuals can get web sites and connect really quickly to other people all around the world, and also the way that we can now travel for very cheap fares, the way while, with only a little plastic credit card, western and japanese people can travel everywhere (in the main centers very quickly) : that was impossible a few years ago. (And we can add the consequences of globalisation : a higher disparity between the privileges of social classes - even in the rich countries ; the increaqsing nationalisms in some countries because of the threat of american sultural imerialism, etc...). That deeply changes the developpement of every cultures now in the world.
R.K. : Personally, I don't like a lot of aspects of this. The main kind of thing is that this notion, the kind of multinational companies, are kind of running the earth. They try to make people in the West the first world, get richer, and the people in the third world are just still slaves, you know. I think it's unfair. The new world order, I mean really what we are talking about is American imperialism I think. Basically they're trying to make everywhere the same as America, MTV culture, McDonald's, all that stuff is . . . Not everyone on the Earth wants to live like that. You find in islamic countries, they won't accept it, which is good for them.
É.L. : Instead of globalisation, we can could call that "Americanisation".
R.K. : I think really yes. Maybe I'm wrong, I don't have a degree in politics, I only know what I see and hear from reading books, and occasionally from television, documentaries.
É.L. : I have the feeling that in your videos since the early 80's perhaps the late 70's, you were like prophetic about the globalisation and it's happening now (in these videos, many things which are happening simultaniously in different parts of the world sees to be connected to each other)
R.K. : Yes. I mean that's a very fair comment. What we were trying to do with video, with Cabaret Voltaire, is almost a little bit like what we have now with the internet, because when the domestic video first became available in like say VHS for everyone in 1978 or around that time, there was no censorship covering video, so we were releasing material that we thought would never get seen on television or the cinema and it's a little bit similar now with the internet way. You can access things that could maybe not receive a certificate in the cinema, if you understand what I'm trying to say. That was one of the ideas that we had to kind of present our own form of television in the form of a video cassette with material.
É.L. : But you had this idea to work with specific pictures taken from the TV news - the most disturbing pictures which show also intolerance and a lot of political issues. then you edit these frames as a kind of " clin d'œil " we say in French . . . A dark but humoristic poetic montage.
R.K. : I mean this is probably the influence of William Burroughs you know, the kind of cut-up technique and the idea that you can take material and then scramble it and then fire it back in some different form, that's basically what we were trying to do. It was almost like what we did then it was like a form of journalism which is showing, you know, this is what people do to each other in the world, this is how cruel people can be and brutal, and it just gets worst. It doesn't get better. Twenty years later there's still a war in Israël and Palestine, we have all this stuff with Irak and Kosovo, Serbia and all this. atrocity, people just don't seem to learn. It carries on again and again and a lot of it is to blame on religion, people's religious beliefs. That's the big conflict between the Israëlies and Arab world, they don't agree.
É.L. : When you started to do these videos in the 70's, were you cultivating a hope that intolerence could get "domesticated" by human logic. Did you have this hope that it could get better ?
R.K. : No. I mean, it wasn't like we were trying to change anything, just reflect. I'm very influenced by the painter Francis Bacon. A lot of his paintings reflected with the times that he lived in, he saw news reel footage of the concentration camps in the second world war and he tried to bring that kind of evil into his work, into his paintings and that's the same kind of idea I think that I'm dealing with or I've been dealing with for the last twenty years or over.
É.L. : There's always this paradox when he used this kind of picture to create a work of art. This picture becomes esthetic and then -in a certain way - beautiful.
R.K. : The thing is that I've never called it art. To me I don't know what you would call it. Some people might call it art but I was found to be some kind of organic thing which develops a life of it's own. I suppose it is nice if people call it art in some ways it's kind of . . . then it's like you get an approval from people. They like the work that you do. I understand what you mean.
É.L. : I think this paradox also is reflected in your music which reveal a certain beauty of the noise (and of an ironical vision of pop music). And that's why you use all this singing from Africa and all these textures. The sound you choose and the way you organize the music, and the video get a certain form of beauty also, but in another way. If you listen only to the music, I think for people who doesn't know so much of your work - for example - they listen to the music and they will not necessarily imagine that kinf of images you will show when you perform. I mean the two seems connected in a certain way but in another way it seems very different.
R.K. : I mean, it's connected by the method of work, the collage technique, the cut-up technique which is both used in the music and the visuals, and maybe in some of the political content or sociological content. When I do the performance, it's not ecstatic where everything is synchronized, picture and sound are synchronized. With my performance you know it's more left to chance. So if you watch the show and something synchronizes, then it's completely a coincidence.
É.L. : Also in the content there's some nice coincidences. I guess that you know that Fidel Castro was here three weeks ago? (Castros images were largely used for a certain part of the work presented in Montreal).
R.K. : No, I didn't. Really ? So there you go, you see. That's Burroughs, you know. You can use the cut-up technique to predict. Cuba is one of the place . . . I love music from Cuba. I'd love to visit Cuba. I haven't been there yet. I have a lot of respect for Fidel Castro. The Cubans have had a very difficult time because of all the sanctions because the Americans are scared of this little communist, socialist island, ninety miles from their coast. They seem to care about the people in Cuba, they have very good education and very good hospitals. Even though people are poor, it seems from what I've been told that they still have very strong spirit. I have a feeling that when Fidel Castro dies that will be the end of it. I think it will go back to, like it was in the fifties, when it was just like a place for like people, gangsters and crime. All the people used to go there for holidays like the Americans, and obviously all that stopped because if you are an American, you can't go there, is that right? It's illegal to have a Cuban stamp in your passport. If you are American, you have to come by Canada or something to visit Cuba, for the moment.
É.L. : I think Fidel Castro - anyway - had to fly directly to Canada did not stop in United States.
R.K. : Don't get me wrong. I'm not saying totalitarianism, I don't like, I'm not saying that it's perfect, but people say there are human rights abuses and stuff in Cuba but then again you get that in a lot of societies . . . Cuba is on my agenda to go. Someone told me that from Canada, you can get holiday for like 700$, and I was talking with my wife about the possibility that I could come to the festival, have an open ended flight so that we could go to Cuba, then come back to Canada and then go back to England, but we were not organized enough to do it. If I would have known it was so cheap, I would have done it for sure because it's about 4 hours by plane or something like that? If I travel to Cuba from England, it would be 12 hours or something like that.
É.L. : About his use of Castro image, you know, that was interesting because Fidel came for the burial of Pierre Elliott Trudeau. Pierre Elliott Trudeau was the prime minister of Canada for - about - 15 years. He was a very close friend of Fidel Castro. It's the reason he came here and everybody saw him at the funeral.
R.K. : Trudeau died recently... I didn't know. That's why Castro was here for funerals.
É.L. : And Castro is coming back often in your video, so we were having a lot of fun about that.
R.K. : That's something I didn't know. It's completely a coincidence, you know.
É.L. : They were friends. Back perhaps just to the globalisation - globalisation is the opposite of, what we can call "universalism" because universalism is this idea that people from every culture, many cultures, can get together and communicate, and with globalisation, the situation makes people more intolerant against each other : they feel the "invasion" of foreigners through electronic medias. You mentioned the islamic " recrudescence ", the islamic countries which became stronger, and more and more regions of Africa were fundamentalist government are elected - because people feels that they are invaded by the culture of America.
R.K. : That culture rots, it rots the world you know. I just can't deal with it. Whatever happens in America, two years later it'll happen in Britain, you know . In America they have crack cocaine and then like five years later or whatever it's on the streets of England. We get all the bad things from there, a lot of bad things come to me. The television now in England is more like the television in America, more commercials, it's gang shows, all this kind is mindless, useless stuff. There is again the product of that culture I guess. I used to think it was funny when I first went to America and I used to watch the TV, it used to amuse me but now I view in a different way. It makes me angry (laughs), but that the sign of change. I'm older and I'm maybe wiser than I was. I first went to the States in 1979, just before Ronald Reagan was elected. I used to sit up all night watching the TV and recording kind of a sound from the TV and all this stuff, kind of these crazy preachers and evangelists.
É.L. : Is it the origin of tape with the "Easter bunnies ..." on the Cd LoopStatic?
R.K. : That was taken from short wave, that was like some religious freak in America, on short wave radio. I just love it I thought I gotta use this. I like the idea, I remember working with Cabaret Voltaire track censory ? and the guy is someone from the Ku klux Klan who is saying these voices and then we put in some African singers which he's gonna hate.
É.L. : Do you think your humour changed since Cabaret Voltaire ? Are you still close to this black humour?
R.K. : A lot of people miss the humour in Cabaret Voltaire. I mean you know if you do a track called " Do the Mussolini headkick! ", to me, it's so funny but in a kind of black humour way I suppose. I still try to have that element in my work even though I'm very serious about the work I do. If you can't laugh, you cry, you know.
É.L. : You know, I have the feeling that many artists from this new "techno culture" sometimes miss this point : there's a lack of humour and a lack also of critical distance between the product created by the people and the people themselves - I mean it's really like most of what we have been seeing during the festival, could be very esthetic but suffers from a lack of content . Sometimes, it is clearly empty and the intention is not clear at all.
R.K. : There is no content. It is about what it's about, you know. I got sick in watching some of the films where I'm sick of seeing a DJ with the turntable and all this stuff, that's really to me not really interesting. I think the problem with a lot of modern music and like kind of laptop music that people do now is a) it doesn't seem to have any soul and then the other thing is, the best union is between man and machine... but I think a lot of these people are letting the machine do all the work and that's why it's empty. They don't put enough of themselves in there.
É.L. : In this music also, we don't feel the intervention of the hand, the movement of the body. I think what is interesting in your music is that we can feel that because of the way you mix and the way you process the pictures of the film, we feel that there is a human.
R.K. : There's material on tape. I'm processing that and I'm mixing, from the mixing desk on stage, and someone could be running the program on the laptop and they say that's live but there might be someone who would look to what I do and say you use DAT tapes, but I think that what I do is more live than someone just running a program on a laptop computer. What do you do, press the button, nothing to it ! All the work is done before, and they run the program and maybe make a few little changes as the program runs along. I don't want work in that way. I've been using the same musical set up for 10 years. I have a very small Atari computer that I have since 1988 and I use that for sequencing and I've got a couple samplers and stuff. Getting back to what you were saying before, when I do a live of performance I want to be physical, I want people to feel it, the bass frequencies. I want to make your legs shake. That's kind of part of what it's about really. Making this environment where you just become absorbed into it. I don't want to dominate people, I just want them to come and enjoy it and have a good time, and if they want to dance, if they feel like the music is suitable for dancing then great. If they want sit down and watch, then that's great as well.
É.L. : I think, during your show, a lot of people would like to dance, but they were too fascinated by the video.
R.K. : That's what one guy said to me that maybe it would have been better without the visuals because then it distracts people from the music, and that's a good point but then if you want to do that you might as well just play, have a club and play the CD and I don't need to be there. It's kind of strange because I've done quite a few different festivals of music and sometimes I'm the only person who uses beats. Everyone else is doing kind of ambiance stuff or all that laptop stuff and it's just kind of . . . I still like rhythm. Rhythm is very important. That unites people, that brings people together, the sound of the drum, the tribal sound. A lot of people don't like it but I don't want to do work that doesn't use rhythm.
É.L. : Did you ever think to eventually do some collaborations or to play with musicians who can play also live percussions . . .
R.K. : Yes, I'd love to . . . I had the possibility, about five years ago to . . . I was approached by some people in Japan and they wanted me to produce, I can't remember the guy's name, it was an artist in Japan a quite well-known artist and he wanted to make an album using of world music and they wanted me to produce it and it was like this fantastic idea with the very big budget. I met when I was in Ghana the pan-african orchestra which is like a thirty piece West African orchestra with traditional instruments. If you want work on that level, it costs a lot of money. Imagine to bring 30 people on a plane and now, I'm not in a position to do that which makes me a bit sad but you know . . . At one time, I'd love to bring together, you know, musicians from Cuba or Africa, Brazil, and then kind of . . . instead of sampling, do it properly for real, but it's just the thing that stops me doing that really is finance.
É.L. : Yes it coul be very expensive to produce... but sometimes I guess you can do some projects "on the spot" because they could have a studio. I was living in Indonesia for one year and I've been noticing that a lot of white people were coming there and were producing albums locally.
R.K. : Yes, that's the other way of doing it. When I was in Ghana, I met someone who just stayed in the art studio there. That is the other possibility but then you still have to pay the artists. It's difficult because you don't want to go in there and feel that you are exploiting these people. I know this guy called James Hardway who is a musician, he went to Cuba and to Jamaica and recorded with a lot of local musicians and they get paid like 10 pounds or something. I mean I don't think that's right, personally. So, it's very difficult, you know, it's a difficult area to deal with, but I'd love to do that. I would have loved to work with Fela Kuti's band. Suddenly he died. His son Femi Kuti , I've heard of his music which is good. It's very much like his father, but he's using a little bit of technology not just purely ordinary instruments, he's using . . . I had some tracks with the drum machine . . .
É.L. : Were you influenced by Fela Kuti's music?
R.K. : Yes. I only saw him playing live in 1991, for the first time, in London, and it was amazing. He played in this hall called ?, it was just full. And for twenty or thirty minutes, his band came and they just build and build. It was like half an hour before Fela came on stage and he was just kind of . . . People were getting more and more sort of worked up. It was great. I've been listening to his work for a long time.
É.L. : He released so many albums! It is incredible.
R.K. : More than me (laughs). But I'm not finished yet, so...
É.L. : I think the winner now is perhaps Merzbow who released around 100 albums. He wanted to do more than Sun Ra but Sun Ra did more than 200.
R.K. : I saw Sun Ra play live a few times and that was amazing as well : wonderful.
É.L. : I heard he did an album with John Cage and I've never heard that album. It sounds very weird to me... What is your relationship with Rasta culture? You were referring to it so many times in your work.
R.K. : I went to Jamaica for the first time two years ago. From being a young boy, when I grew up when I was thirteen, fourteen, what working class kids listened to was black music like black music like Motown, soul, and ska, and reggae. I've discovered dub music about 1975 from listening I probably heard it on John Peal ? radio show in England. With Cabaret Voltaire it was was always a very big influence dub and kind of reggae, but I have a great sympathy for rasta culture. People call it maybe flat earth politics or whatever, you know, it's kind of near-sighted but, at the same time, there is a great deal of wisdom, a lot of the things they say are very clever, very astute. But many people will dismiss it as just being some guy who's stoned and just talking rubbish, but I don't see that. When I went to Jamaica, I visited the Bob Marley's grave up in the hills in nine miles. To me, it was quite a spiritual experience. I was so moved by the whole thing and it was like having being listening to that music for like 20 years and actually go there and then you can understand even more when you are there in Jamaica. There's just music is playing everywhere. People just love music. Like I said, the rastas, even though I don't agree with a lot of things they say, because they are very homophobic. I don't read the bible, I'm not kind of . . .
É.L. : You don't stick on their religious beliefs.
R.K. : Not particularly, but you know some of their other beliefs and some of the messages that Bob Marley said about peace and unity and people coming together, to me that's beautiful. And other rastas were kind of monitored by the CIA because they were worried about this idea spreading I think into America cause again it's like with Cuba, you have Jamaica just off the coast to Florida and there's a lot of black population in America. Maybe they worried that this culture spreads, they think it's dangerous. All the rastas I've ever met have been really peace living people.
É.L. : You mentioned the CIA. In your work, there's many references about people, citizens, being monitored by electronic systems. What is your personal thoughts about that ? Is it like an issue? How far do you think the government can go to monitor people ?
R.K. : I don't know. You must have read 1984 " Big brother ". I mean, I don't think it's far away now. With the internet and everyone is gonna have this kind of communication center in the house. In five years time, maybe when the TV and the internet come together. There's so much cameras now in public spaces. I can only see as a matter of time before it becomes in your own private space. To me that is a human rights issue again. They say videos, cameras, surveillance is to prevent crime but I don't believe that. The crime just moves somewhere else, you know. 35:25
É.L. : But in 1984, they were changing in transforming the history. Do you think it's the case now ? How ?
R.K. : Do you believe everything you see on CNN ?
E.L. : I don't watch CNN! That's too much for me!
R.K. : It's on my TV at the hotel. I like to watch it. I think the truth gets twisted.
É.L. : Are you still recording the TV shows ?
R.K. : Yes, sometimes. I just think the whole thing with the CIA is very interesting because I've read a book called " Who paid the piper ? " and it's about the cultural cold war. You know how the CIA funded the arts in America and in Europe. They funded abstract expressions in paintings, exhibitions, because they wanted to show they won like the Russians who called this degenerate art. When you read this book, you get some of the informations and you find that what they did is kind of fascinating. They are all over the world, you know. They have people caught stirring up trouble, I'm sure there are people in Yugoslavia. They just got rid of Slobodan Milosevic. You can bet your life that there were people from Latin America stirring up the trouble, but Milosevic wasn't a nice man so it's probably better. One of the good aspects of their work !
É.L. : You were mentioning that you still use a lot of short wave radios and now the landscape of medias is changing. Before the radio was really an important medium, now it's still important but it's really different because we have the net, we're connected . . .
R.K. : Short wave radio guys who used to broadcast on the short waves in the 50 and in the 60's. There were like kind of the "pre-daters" of the net really, that kind of worldwide communication, but I'm still fascinated by short waves radio cause you still hear a lot of information from countries that is maybe truer that what you might find from other sources. I steal a lot of things from short waves radios and I'm not likely probably to get any problems with copyright.
É.L. : You were mentioning that, most of the time, you use steady time beats. Do you have eventually any project to do a work more concentrated on the radio as the main source of material ?
R.K. : Did you hear " Darkness at noon " ?
É.L. : No. This is the only one I didn't hear. It's not available here. It's very difficult to get.
R.K. : This was a piece I did, I was using a lot of short wave material around the time of the war in Kosovo, and I made this piece very very abrasive, no beat, just lots of cut-up voices and very harsh radio frequencies. I've done one or two things like that. I also did some music that was kind of influenced by classical music, because after doing all this work with the harsh frequencies, I needed to move and clear my head you know and go back to hear some melody.
É.L. : What work is it ?
R.K. : It's not released yet. It's just something I did early this year, and hopefully I'll release it maybe next year, but I don't know what name I will use for this.
É.L. : Is it a problem for you, in thers of marketing, to use so many names ans pseudonyms?
R.K. : As a marketing thing, it's useless, it confuses people but I'm not really interested in all that stuff. I just think it's good fun to . . . When I started doing that, it was so I could be anonymous because sometimes it's very nice to have 20 years of history behind you but sometimes it's a bad thing because people prejudge. They say "it's Kirk from Cabaret Voltaire" so they expect one kind of thing but if you can put out some music and they don't know who it is then it's just judged purely on the music and not on my history.
É.L. : Do you still run your label "Alphaphone"?
R.K. : Yes. It's not really a label, it's just me. I don't have an office, or any people working for me. I have a small distribution deal with a company in London called Kudos. When I have a new piece of music ready, I just ring them up, master it and they deal with the manufacturing. It's a label, only a name really, it doesn't exist as such.
É.L. : For how long you will be able to keep this rhythm of releasing three or four or five CDs every year?
R.K. : For me, I enjoy it. It's what I enjoy doing. While other people are interested I'll keep doing it. What I want to do now is to stop to release some more 12-inch singles, you know, vinyls, but that's quite difficult cause very expensive now to press vinyl in England. It's been killed by CD which is a shame. That's what I want to do next, is to go back to do something, even maybe with more dance beats….
É.L. : You think the music will change because the medium will be different ?
R.K. : I'll make it change. When you're doing music for a 12-inch single, you're usually thinking about the dance floor a little bit more.
É.L. : You choose the medium according to the music, in a certain way.
R.K. : Yeah, I suppose so.
É.L. : Thank you very much Richard H. Kirk.
RICHARD H. KIRK : DISCOGRAPHIE SÉLECTIVE
"Cabaret Voltaire" était à l'origine un trio formé par Richard H. Kirk, Chris Watson et Stephen Mallinder. Les albums réalisés par Cabaret Voltaire entre 1984 et 1990 ne figurent pas sur cette liste car ils sont plutôt orientés vers un style "pop alternatif", ce qui ne fait pas partie du répertoire couvert par notre émission . Certains de ces disques constituent néanmoins, dans ce genre, des productions fort intéressantes.
Les étiquettes "DoubleVision" et "Plastex" sont des maisons de disques indépendantes fondées par Cabaret Voltaire pour leurs productions plus "expérimentales". Le studio indépendant "Western Works", avec lequel Kirk travaille encore aujourd'hui, a été créé à l'origine par les membres de Cabaret Voltaire. "Alphaphone" est la maison de disque fondée par Richard H. Kirk. "Intone Productions" désigne sa boite de production. Richard H. Kirk se présente sous plusieurs pseudonymes. Parmis les plus connus, notons ceux-ci : "Sandoz", "Electronic Eye", "Nitrogen", Al Jabr", "Trafficante", "Dark Magus", "Cold Warrior", "Robots + Humanoids", "Multiple Transmissions", "International Organisation", "Papadictrine" et "Blackworld".
KIRK : DISCOGRAPHIE SÉLECTIVE 1978-2000
- Cabaret Voltaire : 1974-1976 " CABS 15 " (Industrial, 1978) LP/CD
- Richard H. Kirk : Disposable Half-Truths " IRC 34 " (Industrial, 1978) LP/CD
- Cabaret Voltaire : Mix-Up (Rough Trade, 1979) LP/CD
- Cabaret Voltaire : Live at the YMCA 27.10.79 (Rough Trade, 1980) LP/CD
- Cabaret Voltaire : Three Mantras " RT 038 " (Rough Trade, 1980) LP/CD
- Cabaret Voltaire : The Voice of America " ROUGH 11 " (Rough Trade, 1980) LP/CD
- Cabaret Voltaire : Live at the Lyceum " CABS 13 " (The Grey Area of Mute,1981) LP/CD
- Cabaret Voltaire : Red Mecca " ROUGH 27 " (Rough Trade, 1981) LP/CD
- Cabaret Voltaire : The Pressure Company- Live in Sheffield 19 Jan 82 " SOLID 1 " (Paradox, 1982) LP/CD
- Cabaret Voltaire : 2x45 " ROUGH 42 " (Rough Trade, 1982) - 2x12 - LP/CD
- Cabaret Voltaire : Yashar " FAC 82 " (Factory, 1982) - 12 "
- Cabaret Voltaire : Johnny YesNo: Original Soundtrack " DVR 1 " (Doublevision, 1983) LP/CD
- Richard H. Kirk : Time High Fiction " DVR 2 " (Doublevision, 1983) - 2xLP/2xCD
- Cabaret Voltaire : The Crackdown " CV 1 " (Some Bizarre/Virgin, 1983) LP/CD
- Cabaret Voltaire : The Dream Ticket " CVS 2 " (Some Bizarre/Virgin, 1983) - 7/12 -
- Cabaret Voltaire : Eight Crepuscule Tracks (Les disques du Crépuscule) CD
- Cabaret Voltaire : Micro-Phonies " CV 2 " (Some Bizarre/Virgin, 1984) LP/CD
- Richard H. Kirk : Black Jesus Voice " ROUGH 99 " (Rough Trade, 1986) LP/CD
- Richard H. Kirk : Ugly Spirit " RTM 189 " (Rough Trade, 1986) LP/CD
- The Living Legends : Cabaret Voltaire, (1975-1980) (Mute Records, 1990) CD
- Cabaret Voltaire : Body and soul (Disques du Crépuscule, 1991) CD
- Cabaret Voltaire : Technology : Western Re-Mix 1992 (Virgin, 1992) CD
- Cabaret Voltaire : Plasticity " EXL 3 " (Plastex, 1992) CD
- Sandoz : Digital Lifeforms " TO:21 " (Touch, 1993) CD
- Cabaret Voltaire : International Language " EXL .04 " (Plastex, 1993) CD
- Richard H. Kirk : Virtual State " WARP 19 " (Warp, 1993) CD
- Sandoz : Intensely Radioactive " TO:23 " (Touch, 1994) CD
- Cabaret Voltaire : The Conversation " AMB 4934 " (Plastex/Apollo, 1994) CD
- Electronic Eye : Closed Circuit " RBAD 8 " (Beyond, 1994) - 4xLP/2xCD -
- Richard H. Kirk : The Number of Magic " WARP 32 " (Warp, 1995) -LP/CD
- Electronic Eye : The Idea of Justice " RBAD 14 " (Beyond, 1995) -2xLP/CD -
- Sandoz : Every Man Got Dreaming " TO:28 " (Touch, 1995) - 2XLP/CD -
- Step Write Run: Alphaphone Vol. 1 " TONE:6 " (Touch,1996) - 2xCD
- Agents With False Memories " ASH 3.1 " (Ash, 1996) - CD Composé par Guy van Stratten, Réalisé par Richard H. Kirk
- Sandoz : Dark Continent " TONE:4 CD " (Touch, 1996) - CD -
- Nitrogen : Intoxica " ALPHA 1 " (Alphaphone, 1997) - 2xCD -
- Dark Magus : Night Watchmen " ALPHA 3 " (Alphaphone, 1997) - CD -
- Sandoz : god bless the conspiracy ALPHACD2, (Alphaphone, 1997), CD
- Al Jabr : One Million and Three " ALPHA 5 " (Alphaphone, 1998) - CD -
- Trafficante : Is This Now? " ALPHA 4 " (Alphaphone, 1998) - CD -
- Knowledge Through Science " IRREG 4 " (Blast First/Mute, 1998) - CD -
- Sandoz : Sandoz in Dub: Chant to Jah " TOUCH TONE 10 " (Touch, 1998) - CD
- Richard H. Kirk : Darkness at Noon " TO:41 " (Touch, 1999) - CD -
- Richard H. Kirk : LoopStatic [amine ß ring modulations] " TOUCH TONE 12 " (Touch, 2000)
- Electronic Eye : Neurometrik " ALPHA 6 " (Alphaphone, 2000) - CD -
- Blacworld (Richard H. Kirk) Subduing Demons (in South Yorkshire) " ALPHA (Alphaphone, 2000) - CD - .
transcription : Carole Legault, Sophie Laurent, Eric Letourneau