|#||Release title||Total tracks||Type of release is||Imprint date||Label|
|1||Hoem A.K.||9||Audio||1997||American Tapes|
|2||Thank You Urine Doll||2||Audio||1997||American Tapes|
|3||Brown Sound Super Skin||2||Audio||1996||American Tapes|
|4||No Indian Gaming/Composition #31/30||2||Audio||1996||American Tapes|
|6||Ku Da Kay (Sic) In My Basement Court||3||Audio||1997-12-26||Labyrinth|
|7||'95 Flashblack Attack||4||Audio||2008-07-00||American Tapes|
|8||Race Enamel III||2||Audio||1996||Kinky Musik Institute|
|9||Transparent Music From Long Lived Peoples||2||Audio||1997||American Tapes|
|10||We Regret To Inform You......||4||Audio||1996||American Tapes|
|11||Untitled||2||Audio||Not On Label|
|13||Laymen Agenda||2||Audio||1996||American Tapes|
|14||Bruit||8||Audio||1997||Psychoelectronic Sounds Recordings|
|15||Plays The Music Of Erich Zaan||4||Audio||1997||American Tapes|
In the fall of 1994 on the eve of daylight savings time, John Olson lurked in a basement and put the first water-logged sounds on tape - which became The D.L Savings T.X.. Books of artwork accompanied the debut releases centered around minium wage drones and opera turntable stutter action.
After releasing a handfull of cassettes, The D.L Savings T.X. expanded it's non-macho arsenal to include hand made instruments. Ordinary acoustic & electrical non-musical objects were hideously miswired and improperly charged to weeze beyond the edge of extinction.
In the summer of 1998, the name was changed to The GI & The Spykes.
The focus of this project is to layer and compse sound - giving birth to a multi-faceted style of intertwined dump: cleaking, and jittering with a glowing underwater soul. This vision blossoms to fruition through a up-sized combo of tape collage, broken recording equipment, and Egyptian sour analogue fidelity.