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VARIOUS ARTISTS: 88 Tapes (Kesh)

Featuring AUS, Moskitoo, Mark Templeton, Fourcolor, Orla Wren, Simon Scott, Sawako, Dale Lloyd, Random Number, Christopher Bissonette, Lawrence English, Ateleia, Akira Kosemura and Greg Davis.

VARIOUS ARTISTS: A Cleansing Ascension (Elevator Bath)

Featuring Matt Shoemaker, Adam Pacione, Jim Haynes, Keith Berry, Rick Reed, Dale Lloyd, Colin Andrew Sheffield, Francisco López, James Eck Rippie and Tom Recchion.

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Dale Lloyd has been a sound artist, label owner, graphic designer, producer, musician, and visual artist (among other interests and activities). In 2001, he founded and/OAR, a recording label committed to presenting environmental recordings and sound art that utilizes them to varying degrees. In 2003, and/OAR Diffusion was founded to help distribute releases from other recording labels. Since 2002, Dale has performed with the Seattle Phonographers Union.

From 2001 to 2005, Dale produced the highly regarded series of field recording compilations for Phonography.org. Prior to 2000, Dale spent much time involved in some capacity with critically acclaimed music groups, production projects, and recording labels (æ & Manna) revolving around less conventional forms of pop/rock music such as Lucid, Cindytalk / Bambule, Pram, Moonshake, My Diva, and After The Flood (a studio project that worked with Cindytalk, Labradford, Windy & Carl, Bowery Electric, Steve Ball (formerly of League Of Crafty Guitar Players), Jeffery Taylor (of Climax Golden Twins), Warren Defever (His Name Is Alive), My Diva, Marc Olsen/Sage, Sky Cries Mary, John Massoni / Maxine, among others. And while a member of My Diva performed live with groups such as Flaming Lips, Lush, Medicine, Sky Cries Mary, Sage, Love Battery, Jessamine, Common Language, Maxine, Bewitched (Sonic Youth spin off band), among others.

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Dale's sound work has been described in the following manner:

"Dale Lloyd's ability to combine stark and heterogeneous elements to produce something unique and engaging is strikingly apparent" (Furthernoise)

"...beautifully cultivated microscopic detail and great assembling mastery... ...deeply penetrating music; there seems to be a sort of secretly predetermined walk through progressively immaterial states as we move from sounds of glass and water through clicks, hums and controlled feedback in preparation for what expect us at the end, namely the semblance of a protracted blur of time suspension, a framework where seemingly endless textural delights push the compositions to the highest spheres of sonic meditation." (Touching Extremes)

"...music that pulls you in with a magnetic force." (Ga-zeta)

"...intoxicating soundscapes in which thunder, rain, birds and insects fuse unconventionally with the eternal subsonics of a distant earthquake rumble in waves whose depth is felt under the muscle tissue. One can only imagine the painstaking process necessary to place every single attribute in the right light, but such meticulous attention to detail pays high dividends, as the slo-mo radiance coming out of the speakers throbs with vital resonance that's almost painful to experience." (Paris Transatlantic)

"It's clear a sensitive ear put the sounds together. Even the smallest of nuances arrives weighted by intention. It seems he uses field recordings not as sound objects themselves but more as a set of variables to extract a new world from, to be mined for their transformable / interpretable qualities." (Monk Mink Pink Punk)

"Lloyd's mixing of different sounds and his subtle volume adjustments create a truly rich and absorbing listening experience." (Wind And Wire)

"...Lloyd is reaching deep into his psyche to offer something not unlike a pearl in his very own shell... ...Lloyd is more a choreographer of the elements than a straight shot musician... ...a daydream inducing headtrip... ...a sensual meditation, cleansing your mind, eradicating the incidental; drenching it, quenching it." (Igloo)