Fleshtone Aura is the solo sound-collage alias of Andrew Zukerman. Using new & antiquated technologies he weaves a sonic tapestry that's equal parts high & low-brow, wet & dry, dumb & dumber. Fleshtone Aura rose from the ashes of Gastric Female Reflex, an equally untethered sound collage duo that lasted a long time. As a solo artist he has released perhaps too many albums and played too many shows to talk about.   

“Fleshtone Aura serves his spicy dinner with a tangle of source cassettes and electronics that deploy the deeply arousing aromas of both a series of poignant and extraordinairily well timed belches and farts (or the equivalent thereof) AND the grandest gestures of the sternest-most-serious-never-leaving-the-lab shut in tape music connoiseurs of days of yore…but, ah, those toots never act merely as a humorous apology, never slapping a stick just for slapstick, nor are those high brows ever talking down to us, they’re just gifts, we’re supposed to use them as catapults into the ??!!??!!…..a series of dynamics and moments (karate chop, massage, flower sniffing, paper airplane glides, broken table leg,  spoiled milk, et c) that sometimes explode atop or beside each other in matter of seconds, or sometimes linger on a sweet spot for us to suckle sugary nectars……. these juxtapositions described cease being juxtapositions when heard, all moments contribute to a fabulous, pink-pulsing-writhing whole, the superflousness is left in the waste basket, even the meanderers meander with great purpose, leaving nothing but a strobing (perhaps beaked) body builder (who never bathes or waxes: why lie?) flexing themselves into a vast meadow of previously unseen flowers in some public park somewhere.” 
- Id M Theft Able

More stuff HERE

Selected Arbitrary Works I - V is the first of two cycles of albums. The contents of each album is sourced entirely from archival material dating from 2006-2016 from two hard drives. Between these years no effective naming convention of the files was introduced, therefore the contents of said files were unknown. All sounds and combinations thereof were selected arbitrarily and arranged visually in a basic wave-editing program. Additionally, throughout this process, the master volume of the program was muted so that no sounds could be heard. The pieces could not be previewed until they were deemed finished. There was no rule as to when or if each piece was finished - they simply looked finished to me. Once the work was complete there could be no alterations, exclusions or mastering. What is presented here is the result, for better or for worse, of this exercise.