Here is the second release from this new archival series brought to you by the combined inquisitive minds behind Pre-Cert Home Entertainment and Finders Keepers as they continue to share the results of some of their most sub-aqueous vinyl, tape and film excavations yet. Dead-Cert takes the combined obsessions of all its collaborators and applies an intensive research model to the annals of vintage outsider music, sound sculpture, spoken word, ethnological documents, art-trash, early computer music, neotantrik music, tape manipulation, non-pop and vinyl voyeurism. Investigating and re-contextualizing previously un-heard recordings from sources that transcend and eclipse the limitations of the record collecting trend and the commercial music industry. Following on from Dead-Cert's debut release (The liberation of the rare Voice of Packaged Souls by Suzanne Ciani), this official new pressing of an equally obscure sculpture theory souvenir disc treads similar ground in documenting conceptual art and sound collaborations with mechanical music pioneers, in this case Swiss electronic jazz musician, Bruno Spoerri. This previously un-travelled and un-promoted aural thesis documents a one-off 1982 collaboration between the Zurich-born music technologist Spoerri and theoretical material mechanic Miss Betha Sarasin as they collectively embrace computer technology to the advantage of their individual artistic disciplines, resulting in a series of startling melodic and non-melodic pieces using electromagnetically-oscillated stainless steel "instrument sculptures." For Spoerri enthusiasts, this record presents the musician in a new light. AX+BY+CZ+D=0 (aka Kunst Am Computer) both sonically and stylistically revealed a darker side to Spoerri's music, pre-flecting the recent favor for "industrial" and "drone" aesthetics in contemporary experimental recordings and bridging a comparative unison with other unconscious European contemporaries such as Gruppo d'Improvvisazione Nuova Consonanza, Giuliano Sorgini and Egisto Macchi (from Italy) and Igor Wakewich and Richard Pinhas (from France) and the darker Czech soundtrack work of Zdenek Liska. In equal measures, this LP also retains the unmistakable personality of Bruno at his most uninhibited, including the signature sounds buried in his earlier construction site sample experiments and his ongoing relationship with Arp technology and Bill Bernardi's Lyricon 1 wind synth that was simultaneously being utilized and developed in the U.S. for Suzanne Ciani, Roland Kirk, Michał Urbaniak and new-age electronic artist Kat Epple, again, sonically unifying these forward-thinking pioneers. Cut at Dubplates & Mastering. Made in a limited edition of 700 copies.