blackhumour was the time living in Vancouver, B.C. (since relocated to Seattle) and known for his pieces made entirely with human vocal sounds, up till that point only available on cassettes such as the ones released by Banned Production. The track he contributed was very different from I had heard from him previously (largely looped and layer fragments) being a collage of many sources. blackhumour was also an avid writer, and went on to start publishing a quarterly pamphlet with the same name as the track here. Unfortunately, he was one of the few people I did not get a contributor for the booklet from.

Asmus Tietchens is a rather well known German composer with a large discography ranging from Residents-like instrumental synthesizer music to industrial soundscape and many points in between. His works are now documented very well in a book published by Auf Abwegen. His track here processes the voice of Iris Pompesius, whose picture is also featured on his page of the booklet.

Crash Worship arrived on the scene after I had started compiling this record. I think I had first seen them at Lectisternium in 1988, a show which I didn't think was that impressive. But with each successive show, they seemed to get better and better, evolving into the chaotic and aggressive presence they became known for, and quickly becoming one of the best live acts around. Their record never really seemed to truly represent their live sound, especially as they often thought of the studio as a different situation which called for different results. Still they produced some very nice recordings. This piece was named after a terrorist group, and later was included on their "Asesinos" CD on Cold Spring Records (England).

Premature Ejaculation gave me two different tracks, I chose the shorter and less industrial sounding video piece to use. For more information on them, see the entry for their "Assertive Discipline" LP. As with the LP, I believe the audio was done entirely by Chuck, while the collage in the booklet was done by Rozz.

Cranioclast was a band I discovered after I had starting compiling this record and was actually rather glad that some other people had turned me down so that I could include them. Their four LPs and one cassette, along with the related LP by C.O.R.E., were my favorite music at the time. The track these mysterious Germans provided is probably still my favorite on the album, and they were the only group to get two pages of the booklet.

Arcane Device was yet another act I discovered after starting this project, and because of the very impressive contribution to the "Testament" compilation and double 7" (both on RRRecords), was glad to be able to include him. He went on to do many other releases, but some years ago to decided to complete stop. One less known aspect of his creative output was drawing, which is represented nicely in the booklet. It's this track that helped impress upon me how well this record was cut.

Hirsch Quadrat was a short lived project of Christoph and Andreas Heemann. I had actually written to Christoph to ask for a track by H.N.A.S., but he informed me that H.N.A.S. had a contract with K.K. Records and was not free to give me something. He went on to state that the band was falling apart, and asked it I would like a track by a new project. I of course accepted this. The resulting track is one of only two tracks by this project to surface, the other being a companion piece to this one release on a split single with D.D.A.A. on the Belgian Electrip label. A short fragment of raw material by Hirsch Quadrat was also used on the Schimpfluch LP "Stuhlgangblockade N!".

The Haters are the great masters destroyed noise and come from nowhere in particular. At the time I was putting this together, they had a contact address in Vancouver, B.C., though from the letter I got it was obvious that spending as little time there as possible was already a goal. G.X. wrote back apologizing for the lateness of response and hoping he was still in time to contribute something. In fact, his was the first track that I received. In addition to the track, I was sent the essay "Explained" by G.X. Jupitter-Larsen, which is in the booklet. Over the years, I was able to present a few Haters performances, as well as an art show of his paintings. A couple of these paintings still hang in my house.

Mimir was a collaborative project by the members of Hirsch Quadrat and Edward Ka-Spel and The Silverman of The Legendary Pink Dots. From the title, this would seem to be an outtake from their debut double LP / CD on Flabbergast, although "December...Whatever" was later included on the CD version of "Mimyriad". This is one of my favorite moments on the record (along with Cranioclast and Hirsch Quadrat). It was also something that held up the album a little. It was a last minute addition to fill in some space left by other contributors who never got me their tracks and unfortunately the DAT was at Edward's house in Holland. This was a problem because at the time, The Legendary Pink Dots were going through a particular tragic time due to the death of Bob Pistoor. Additionally, they were just leaving for a tour of America. Which lead my first meeting with Edward Ka-Spel to start with, "Hi, you've got this DAT tape I need." (And it ended with us talking about releasing a 7" single by him.) In the end, Frans de Waard was very helpful in being able to go over and collect the DAT and mail it to me, as he lived in the same town at that time. After getting their copies, Edward told me he thought it was the best compilation they had ever been on (a lot of this having to do with the cover), though I find that hard to believe considering all the other things they have appeared on.

Plecid was David Woodard from Santa Barbara. He had made some impressive cassette releases and performances blending together the sound of early Cure and Durutti Column with altogether sinister and subliminal undertones of his literary influences William S. Burroughs and "Maldoror". He also wrote a short pamphlet which he gave to various stars and was often displaying quotes from the reactions of Robert Smith, Andy Warhol and Burroughs. He was someone else I wanted to release on LP early on. His original track was to be "I am Your Arch-Enemy" (or something of that nature), though it was switched, with his permission, with the track he gave to Chuck Collison for a Happiest Tapes on Earth cassette compilation, because I needed something a little shorter. Unfortunately, by the time the record was released, our friendship had completely dissolved. I included his track out of a feeling of commitment, though he later made some ridiculous statement that it wasn't even him on the record. Considering these last facts, I sometimes wished I had just left this track off.

For the cover, I had originally asked Kris Fuller to do something. Unfortunately, I lost contact with her. Then I asked Rozz Williams but he wasn't able to do anything in the end either. I then hoped to get Nick Greene to do something but again nothing happened. In the end, I got a beautiful piece of artwork from Christoph Heemann, in addition to the label artwork he already provided, which left me very, very happy. Not wanting to settle on a regular printed cover, I finally hit upon the idea of doing a cloth cover. My mother, Kris, turned my idea into a physical mock-up and in the end sewed all the covers. The cloth itself was bought as remainders which allowed us to cheaply get a large variety of colors of cloth ranging from the more common tan and light blue to fluorescent pink, purple, and couple very beautiful red and green ones. The screen printing was done by Motr Egg, two friends who had just started their business (a flyer for them was included with the LP). I guess I was their first customer and one of the only ones that paid them. Their work very admired, especially considering the fine print and detail of Christoph's artwork which they skillfully reproduced. They also made me a t-shirt with the cover art, though never produced any to sell. In the end, I was short 23 covers for the LP. By this time, I had become close friends with Small Cruel Party and ask him if we would like to make a handmade cover for these remaining copies. He of course agreed, and made two very large paintings which were cut into 12 by 24 inch sections and folded in half. While the regular edition had sold out within three months of release, this more limited edition with handmade cover stuck around for a lot longer and eventually most copies went to Japan.

The title "Perpetual State of Oracular Dream" was actually taken out of the book "Apocalypse Culture" while randomly looking through books trying to come up with a good title as Asmus had asked about this aspect. I would like to point out however, that I liked the phrase out of the context of the article it was taken from (which actually didn't interest me so much), as it resonated some other personal meanings at the time.