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Australian electronic composer Pimmon (Paul Gough) specializes in sound manipulation and sample collaging that frequently lands his music at the border between order and chaos. Waves And Particles (Meme, 1999) and Kinetica (K-RAA-K3, 2000) sailed towards wastelands of ghostly, minimal glitch-pop that sound like a noisy, static-stricken version of Brian Eno's Before And After Science or an anemic remix of Throbbing Gristle's DOA. The pensive quality of his collages is more evident on Assembler (Fallt, 2000).

Afternoon Tea (february 2000 - Ritornell, 2000 - Weird Forest, 2010) was a collaboration among Keith Rowe, Paul Gough (Pimmon), Oren Ambarchi, Peter Rehberg (Pita), and Christian Fennesz that pioneered live hard-disc editing (via Powerbook software) as a new form of collective improvisation.

Unfortunately, Pimmon began releasing a huge quantity of very low-quality material: the live Electronic Tax Return (Tigerbeat6, 2001), the mini-album Orquesta Del Arrurruz (Staalplaat, Secret Sleeping Birds (Sirr, 2001), the split Zesde Mixer (Stichting Mixer, 2001), Snaps Crackles Pops (Tigerbeat6, 2003), Still Important Somekind Not Normally Seen (Cronica Electronica, 2004).

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