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V/Vm is a project that English electronic musician James Kirby started in the1990s to modify well-known songs to turn them into parodies. He made dozensof such recordings.

Kirby's more serious project is Caretaker, that operates at the borderof sampling (ancient pop and dance standards), glitch electronica and ambient music.This one too produced an endless series of recordings, but instead of parodiesthese sounded like post-modernist revisions of stereotypes that were fullof meaning; evocative and nostalgic but also intellectually challenging.Selected Memories From The Haunted Ballroom (V/Vm Test Records, 1999),A Stairway To The Stars (V/Vm Test Records, 2001), perhaps the best one,and We'll All Go Riding On A Rainbow (V/Vm Test Records, 2003)sounded like concept albums, and with a high-brow concept actually.At the same time, the general concept of music 'not to be listened to' wasreminiscent of the original manifesto ofBrian Eno's ambient music.

A Stairway To The Stars opens with the gloomy whirlwind of murmurs ofWe Cannot Escape The Past, that sounds like a biblical omen.It then journeys through vignettes that are ethereal and otherworldly (Emptiness),gothic industrial (Consigned To A Yesterday),abstract and shapeless (Masquerade Ball),menacing and dissonant (Malign Forces Of The Occult),angelic and timeless (Friends Past Re-united),brooding electronic muzak (Date With An Angel),psychedelic distortion (Home),etc.The seven-minute closer, A Stairway To The Stars, provided a manualof instructions on how to create Caretaker-like music as it mauls and mutatesa carnival-like melody to become an anguished metaphysical drone.This album marked a pinnacle of Kirby's art, as there was little left ofthe original sources and mostly one heard a solemn symphony of the collectivesubconscious.This was basically highly emotional musique concrete, whoseoutcome was actually often akin to classical music.

The massive Theoretically Pure Anterograde Amnesia (V/Vm Test Records, 2005) collected 70 more imitations.

AfterAdditional Amnesiac Memories (V/Vm Test Records, 2006) andDeleted Scenes Forgotten Dreams (V/Vm Test Records, 2007), the Caretakerhad refined its art to an almost baroque degree.

Persistent Repetition Of Phrases (V/Vm Test Records, 2008), wrapped inwaves of static noise, signaled an even more existential(Rosy Retrospection, one of his best recreations of the ballroom of the Titanic)and cosmic (Poor Enunciation) mission,next to sophisticated William Basinski-esque games (Persistent Repetition Of Phrases), to abstract soundscapes (Past Life Regression) and to almostmusique concrete (Von Restorff Effect).

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Recollections From Old London Town (V/Vm Test Records, 2009)

Caretaker's An Empty Bliss Beyond This World (History Always Favours the Winners, 2011) sounds deliberately like a collage of vintage dance jazz records.

Leyland Kirby used his own name for the much more musical triple-disc Sadly the Future Is No Longer What It Was (History Always Favours the Winners, 2009), originally, a three-volume six-LP box-set (two LPs in each volume).This timeKirby composed ambient music from snippets of old 78RPM records.The music is purely instrumental, but rarely have titles meant so much, and, infact, been more poetic than the usually trite lyrics of popular music.
The first volume wasWhen We Parted My Heart Wanted To Die (76:40). Its title-track recyclesplaintive piano and street noise into a melancholy adagio, the most touchingmoment of the set.The Sound Of Music Vanishing is a whirlwind of shapeless soundsintersected by brief melodramatic drones that are eventually swallowed upby a puffing machine.The Beauty Of The Impending Tragedy Of My Existence is an unnerving,suspense-filled concerto for metallic drones and snore-like glitches.The turbulent ocean ofAnd As I Sat Beside You I Felt The Great Sadness That Day emitsan anthemic organ-like melodic figure, an ecstatic ode to thetitanic aspect of the human condition.The gentle slow-motion lullaby of Tonight Is The Last Night Of The World sounds like a requiem for all living beings.The 20-minute To The Place Between The Twilight And The Dawn is a moreunstructured dialogue between jazzy piano, electronic hisses and distant voicesthat seems to die under the weight of an invisible but palpable superhuman force.
The second volume, Sadly The Future Is No Longer What It Was (78:57) tries in vain toemulate the magic ofWhen We Parted with the tenuous piano sonata ofWhen Did Our Dreams And Futures Drift So Far Apart?.A shamanic flute and bells push the ambient drift of Not Even Nostalgia Is As Good As It Used To Be into dejavu new-age territory.The 20-minute title-track relies too much on a Morricone-like leitmotif thatsimply repeats itself as if looking for the right way to make an emotional dentand ultimately overstays its welcome.Hence the first half of the sophomore album is a mediocre imitation of the firstone. However, Kirby still has enough inspiration to deliver the blurred wall ofglitches of Stay Light There Is A Rainbow A Coming, slowly revealinga choir and a wealth of peripheral movements, as well as the (finally) movingserenade ofI've Hummed This Tune To All The Girls I've Known, another Morricone-liketheme but this time more solemn in tone and rivaled by a secondary string-liketheme.The tender and nostalgicNot As She Is Now But As She Appears In My Dreamsis typical of Kirby's unique concept of a piano sonata: the notes of the pianoflow slowly, and their timbre is not particularly pretty, thus emphasizingthe silence in between.
Memories Live Longer Than Dreams (79:58), the third volume,recovers some of the poetry that was lost in the second one, and it does soby relying more on Kirby's timeless style of piano sonata.Memories Live Longer Than Dreams is a sentimental music-box refrainlost in lugubrious wind, the distance causing a time warp between the notes.The even more ghostly piano notes of Don't Sleep I Am Not What I Seem I'm A Very Quiet Storm are immersedin a soft murmur that oscillates like ocean waves.
The pandemonium of industrial and nuclear dissonance abruptly unleashed byA Longing To Be Absorbed For A While Into A Different And Beautiful Worldis a welcome shift of mood: a hyper-charged symphony of musique concretethat ends in subsonic rumbles and cryptic radio signals.
The 17-minute Stralauer Peninsula too represents a new form in Kirby'souvre: the equivalent of an impressionistic watercolor. Some murky wateryfluctuations play the melody, sometimes sounding like a female Japanese singer,while some other feeble droning and glitchy elements fill the
We All Won That Day Sunshine returns to the piano sonata form, slowlyhammering one of his cinematic themes over a sinister, burbling backgroundradiation;andAnd At Dawn Armed With Glowing Patience We Will Enter The Cities Of Glorysurprisingly intones an old-fashioned country melody that an orchestra joinsand turns into a celestial hymn.
Taken together the three album represent one of the most monumental effortsto redefine music as an art of recycling.

Eager To Tear Apart The Stars (History Always Favors The Winners, 2011)is basically its continuation and contains one of the most hauntingcomposition in that vein,They Are All Dead, There Are No Skip At All.

The four-LP Intrigue & Stuff (History Always Favours The Winners, 2011),credited again to Kilby in person, expanded the style of those works topsychedelic electronica (Video 2000) while retaining the principlesof Caretaker's 'hauntological' music.

Patience (History Always Favors The Winners, 2012),conceived as the soundtrack to a documentary on German writer Sebald,was constructed from 78 RPM records of Franz Schubert's lieder.