Many in the music business work on erasing mistakes. The static produced by tangled wires between the instrument and the amplifier is being filtered out painstakingly, random recording mistakes are being deleted, and replaced by correct versions until everything fits. Until everything is pleasantly plain. Others in the business work with the waste of these procedures, with the dispensable, the sonic trash. This is how the sample nerd and stage dervish M-F-X works: he listens to his vinyl collection closely and grabs the hiss and the hum of a thick bass string – not the tone – samples the breathing sounds of his favorite singer – not the voice – and processes the sound his Budapest shoes produce on asphalt into a wonky beat. If his music was a movie one would be fascinated by a-synchronically edited audio and video tracks. A torrent of pictures would dash onto the spectator telling of survival in the city, of a cool resistance, of glamour, and shipwreck. In spite of this complexity it is still music, not film – music breaking barriers. Let’s imagine a post-apocalyptic point of time. M-F-X is the new project of Thomas Mahmoud-Zahl. He worked with Can Khan Oral, Michael Wertmueller, Mouse on Mars, Phoebe Killdeer, The Shift, Data J. Cranky, Grand Master Soft God, Re-Coil, Chris Imler, FMZ, Mark Boombastik, Andi Toma, Jammin Unit, 200 DOF, Gerald Mandl, Dr Walker, SFX, Christoph Clöser, Zero Cash, Tycho Schottelius, Ole Wulfers, The Nest, Tannhäuser Sterben & das Tod, Desmond Denker, war of sounds # Krieg der Töne, Daniel Berwanger, Luxus für harte Zeiten, Gerd Generic, Ives # 1, Eva Pisana, X + X, Gerd Rische, Kat Válastur, Caesar von Schnitzler, Black Swans End Cake, Von Spar, Kubiak, Oliver Twist Band Bankruptcy Jazz, Klaus Lemke, Leila Lowfire, Juliana Venter, Tilman Kanitz, Michael Rauter, Jan Werner, Omöohhhno pahtuuontudonthose.