The Nimrods of Zev Asher (vocals), Tim Olive (bass) and Samuel Lohman (drums), come to light in Japan with Grandson Of Ham (Scratch, 1992), composed entirely by Olive, on which several local musicians collaborate. The noise produced by the trio is somewhere between grunge and speedmetal, but at the top level of their compositions are layers and layers of manipulations and arrangements (saxophone frills in Muttfrappe, harmonica cues on Naked Baking, violin flourishes in Nothing Changes).

Best qualifying the style of these Canadian Shoot Cops is the monumental and apocalyptic The Mighty Hunter/ Lab 36B (Scratch, 1993). Activity Centre, with its wall of crackling guitar and crawling cadence, and Meathook, with its dizzying riff, are the most regular songs. The last twenty tracks are cacophonous miniatures in which anything can happen. The rock-rhythm electronic mumbles of Gemstones and The 4th Phase, but for the most part the record is unrealistic and fuzzy. (Note: on the CD cover the song titles are almost all wrong, and the first six are recorded in Japan with the help of Japanese musicians.) velleitario e sfocato.

Tim Olive and Zen Asher are the only surviving members of Nimrod on Nimrod (Scratch, 1997), the album that marked the transition towards noise. The duo (and Japanese friends) serves collages, that integrate Boredoms and Negativland (Mongkok), jams, that mix free-jazz and musique concrete (Asinine Q), and psychedelic freak-outs (Fewker). There are hints at great music, but there is hardly any music at all.

After the band's breakup, Tim Olive and Jeff Bell recorded Beauty Pear (Trakshun Industries).

Roughage is Zev Asher's post-Nimrod noise project. Yen For Noise (Scratch, 1995) had been completed in 1992 but appeared only three years later and marked Asher's emancipation from the role of singer. The 27-track 75-minutes opus is a work of austere electronic music and sampling techniques inspired by the classical avantgarde of composers such as Karlheinz Stockhausen and Gordon Mumma. While many of these brief sketches can be attributed to a self-indulgent artist, the electronic shocks and distorted voices of Crime Of Violence and the eerie drones of Live In Nagoya sound particularly menacing. Several pieces rely on voice manipulation and several others are live improvisations with masters of the Japanese noise scene. But few compositions resort to the dissonant chaos of the Japanese noise masters and, generally speaking, Asher displays a more relaxed and spiritual approach to sound.

On the other hand, a harsher industrial soundscape permeats the cassette Benny`s Audio pt.. 2&9 (Earwing).

Supernatural Hot Rug And Not Used (EM Records, 2006) was a collaboration between Bunsho Nisikawa (guitar) and Nimrod's Tim Olive (bass).