PBK has been an influential figure in the realms of noise, ambient, and electroacoustic music since 1986. The name PBK stands for Phillip B. Klingler, who was born in 1960 in Flint, Michigan. In the early 1980s, Klingler pursued art studies at Northern Michigan University and California State University, San Bernardino. He showcased his expressionistic paintings in the Los Angeles area and actively participated in the international mail-art community. His visual art gained recognition in August 2009 through a feature on Jonathan Canady's blog, [Colors Of The Dark](http://colorsofthedark.blogspot.com/).

In the mid-1980s, Klingler transitioned into sound experimentation, creating abstract music that mirrored his visual art pursuits. He remarked, "I started to experiment with sound around 1986, but before that I was mainly preoccupied with visual arts theories. My interest in 'gesture' and 'subconscious' correlated to Surrealism (automatism) and Abstract Expressionism (spontaneous expression & improvisation) and I was motivated to apply these thoughts towards sound expression at least partially because of the ability of some sound-types to bypass association and origin. Abstraction was also possibly leading me towards this new solution, the world of noise." ([IEM Interview](http://www.orc.ru/~iemhome/eindex.htm), 2001)

In 1987, PBK began a noteworthy collaboration with underground tape artist Minoy. This prolific partnership commenced with the Disco Splendor project and led to multiple Minoy/PBK releases, culminating in PBK's first official solo album, "I - Descent," which included contributions from both Minoy and analog synthesist David Prescott. From 1988 to 1990, PBK released numerous albums, featured on various compilations, and received extensive and favorable reviews in the international underground press. He became a prominent figure within the U.S. noise underground, collaborating with artists such as Asmus Tietchens, Jeph Jerman (of Hands To), Dirk Serries (of Vidna Obmana), Illusion Of Safety, and many others.

In 1992, PBK's first solo CD, ""Macrophage / The Toil And The Reap"," was released by the ND label, followed by the release of ""Shadows Of Prophecy - In His Throes"" two years later. During a four-year period in Puerto Rico (1992-1996), he delved into deeper isolationist experiments, employing turntable manipulation and an innovative approach to MIDI sequencer programming, resulting in an early form of glitch music exemplified by the album "Listening To The World Vibrate." He also released a three-LP box set titled "Domineer / Asesino! / Retro" and a CD featuring his collaborative works with AMK and Jeph Jerman on the RRRecords label. Additionally, ""Life-Sense Revoked"" was recorded during this time, showcasing collaborations with AMK, Brian Ladd, Deaf Lions, Jarboe (of Swans), Jeph Jerman, and an uncredited Vidna Obmana, who requested the removal of his name from the credits for the track "Cabalistic Personage," resulting in a fallout between the two artists. In 1996, PBK performed at the 2nd Annual Experiences Festival in Paris, sharing the stage with Con Demek, Schimpfluch-Gruppe, Toy Bizarre, and others.

After returning to the U.S. in 1996, Klingler settled back in his childhood home of Flint, Michigan. Throughout the late 1990s, PBK expanded his improvisational approach in live performances and ventured into collaborations with genres such as hip hop, free jazz, and metal. In a 2001 interview, he stated, "I found out over the last five years what it means to be an improvising musician... How I must be prepared to spontaneously interact within a musical structure in a meaningful way." ([IEM Interview](http://www.orc.ru/~iemhome/eindex.htm), 2001) During this time, he produced two albums, "Headmix" and "The Mescaline Tracks," both of which were influenced by his interest in electronica and personal experiences with psychedelics. His collaborations with Artemiy Artemiev, Slavek Kwi (of Artificial Memory Trace), and Yasutoshi Yoshida (of Government Alpha) were notable, with their joint works ""Dreams In Moving Space"" (2000) and ""A Moment Of Infinity"" (2002) earning critical acclaim, receiving significant radio airplay, and reaching the Top 50 of the U.S. new age charts.

In the 2000s, PBK continued to develop his artistic vision while maintaining a steadfast approach to sound. His work garnered attention from a new generation of experimental artists, leading to collaborations with musicians such as Ben Brucato (of Clew Of Theseus), Brent Gutzeit (of TV Pow), C. Reider, Telepherique, Wolf Eyes, and many others. In 2004, PBK toured the eastern U.S. with Government Alpha, and in 2005, he toured the Midwest with De Fenestra. Recently, he has collaborated with independent filmmakers, providing sound cues for the Detroit-area horror series Lee Martin's "The Midnight Hour," Hart D. Fisher's "Flowers On The Razorwire," and director Joe LiTrenta's film adaptation of Thomas Mann's "The Magic Mountain."