singer / songwriter / band leader / multi-instrumentalist / recording engineer / producer / actor


Laurence Bond Miller was born and raised in Ann Arbor Michigan, and as youngest in a musical family of 5 was exposed to many types of music during his formative years; Romantic Classical and Modern 20th Century orchestral music from his father, 50s Classics and 60s folk through his older siblings, and finally drowned in "British Invasion", pop psychedelia, free-form Jazz and New Wave Punk from teens to twenties. This variety of influences has been evident in his songwriting throughout his career.

Miller had formal training in piano and clarinet during grade school, playing in school concert bands. At age twelve however, with Beatle-mania in full swing, he  began to quickly pursue the new R&R music of the time; Syd Barrett’s PINK FLOYD, JIMI HENDRIX, PROCAL HAREM, SOFT MACHINE, CAPTAIN BEEFHEART & HIS MAGIC BAND, SILVER APPLES, SRC and THE MC-5 to name a few. 

One fateful night, Laurence and his two teen brothers Roger and Ben, found themselves in the basement improvising in high energy free form R&R.  This so inspired the three that they set out to form an original band with the full intent to produce truly ground breaking music.  By 1969 a trumpeter was added (Harold Kirtchen ~ brother to Commander Cody of the Lost Planet Airmen of Hot Rod Lincoln fame), now calling themselves SPROTON LAYER. Their final recording in 1970, "With Magnetic Fields Disrupted", was later released in 1991 on New Alliance Records, a subsidy of SST, receiving rave reviews.  This collection was remastered and rereleased in 2013 by Germany's WORLD OF SOUND RECORDS with strong reviews, supported by select performances in Ann Arbor/Detroit and Boston/NYC. More recordings have since been dislodged from the archives (1969 to 1971) with plans for a 2nd volume release in 2017. 

Though primarily a drummer in his early youth, Laurence also taught himself how to play the guitar. Being left-handed and unable to afford a "southpaw" model, Laurence learned how to play his brother's right-handed guitar upside down. Songwriting began, and soon after, recording on the family's analogue stereo tape recorder.

Sadly, R&R devolved back into the mainstream as jocks and hillbillies began smoking dope and dropping acid.  Discouraged then as the 70's progressed, Laurence threw himself into contemporary orchestral music, free-form jazz, and music college. During his discontented experience in school, Miller continued to write, working with instrumental horn oriented ensembles focusing on open ended improvisation.  His signature at the time was to use musical notation mixed with "staff art" to express his original ideas.  With the advent of sound on sound multi track processing, Laurence was able to experiment with his compositions, all by his lonesome.  He became comfortable with this recording process and managed to document many works, crude as they were.  First thru the simple 2-track method using both channels of a stereo tape deck, learning the art of doubling vocal tracks, and later figuring the ins & outs of sound on sound, as mentioned. A documentary collection of these solo tapes can be found on his absurd 2002 release, "Turn a Left, and Down the Hall".  (NOTE: By mid 80's Laurence learned to produce full multitrack solo recordings using 4 & 8 track analogue machines, documenting his music again, by himself.  A learning curve he continues to roll out today.)

By 1976, as interest in college waned, Laurence moved back home and formed a psychedlic noise band called EMPOOL.  NOTE: Empool had it's own counterpart magazine by the name of EMPOOL III. It was this NE-side A2 band that melted into the SW-side A2 band, Destroy All Monsters, which later made history with Ron Asheton and Michael Davis.  An official EMPOOL LP was finally released on Feeding Tube Records, 2017.

By 1977, as the Punk Movement began taking serious root, Laurence (now having dropped out of the school scene) and his twin brother Ben, became instrumental in the makings of DESTROY ALL MONSTERS. D.A.M. were then considered to be Detroit’s first punk band, featuring X-STOOGE guitarist Ron Asheton and X-MC-5 bassist Michael Davis.  Opening up for the likes of THE RAMONES, PERE UBU, and DEVO, Laurence & Ben left their mark on D.A.M.’s first two singles; “You’re Gonna Die b/w Bored” and “November 22nd 1963 b/w Meet The Creeper” released on their manager’s private label IDBI Records.  These were later released in FRANCE on Revenge Records (1989) on vinyl and CD along with other singles and out-takes entitled “Nov. 22nd 1963 / Singles & Rarities”.  There were two other songs recorded during that studio session, both penned by Laurence and Ben; Broken Mirrors and Taken For Granite.  To this day they have not seen the light. Though much fun and initial opportunity sprang into view, Laurence & Ben’s interest with D.A.M. did not last long before personal, financial, and musical conflicts developed.  The twins left the band in October 1978 to pursue more creative projects. 

XANADU, an X-D.A.M. collective, quickly formed producing a bootleg 7" EP of D.A.M. rehearsal outtakes called DAYS OF DIAMONDS in the later part of 1978, as well as an interesting 4-song 7" studio EP entitled, BLACK OUT IN THE CITY.  BLACK OUT IN THE CITY was released in January 1979 on Black Hole Records and featured compositions by Laurence, Ben, and Cary Loren (original founder of D.A.M.), with drummer Rob King (D.A.M.) supplying the back beat. NOTE: BLACK OUT IN THE CITY and DAYS OF DIAMONDS were recently rereleased as a full L.P. on Detroit's label, THIRD MAN RECORDS in February of 2017.

In 1978, Laurence met the late Donna Sevakis and by 1979 they were well on their way creating a family together.  Despite their rough domestic terrain, there were successes shared in the process, including three beautiful daughters; Tara, Ashia, and Brittany.  Another child, Brenten, was fostered later in another relationship of Donna's after she and Laurence went their separate ways in 1983.  NOTE: Donna's voice is heard on the title cut of XANADU'S "Blackout in the City".


Laurence continued working with his twin brother during the first half of the 80's, co-leading Ann Arbor’s post-punk bands THE SAME BAND, THE OTHER BAND, and NON-FICTION.  NON-FICTION, a well rehearsed power-trio mixing hard pop with the avant-garde, was one of 12 bands picked for Ann Arbor’s 1st compilation LP “Cruzin’ Ann Arbor” (1982).  This featured a song written by Laurence entitled Walkie-Talkie and received favorable reviews nationwide.  In 1984, after reaching local notoriety, co-billing with such bands as DREAM SINDICATE and THE REPLACEMENTS, NON-FICTION released a half-live half-studio double LP cassette called "Walking Sideways, Talking Backwards", considered by The Metro Times as “ local release of the year!..”  The band, disheartened by local club politics, then broke up in Spring 1985.

As a side project during the early 1980's Laurence worked with his twin brother in an experimental band, LOW INCOME ZONE.  This quickly morphed into two seperate bands; RADIO SILENCE and G.K.W. (God Knows Who) both acting as a "relief" from the sometimes head banging if not somtimes boring results of gigging with NON-FICTION.  RADIO SILENCE was Laurence's band, considering themselves punk-jazz, however that was highly debatable .  No real claim to fame there, however they did release a selftitled cassette featuring a "live" set on side A followed by obscure home studio recordings on side B.  Laurence worked, if not briefly, with his twin bro's side  project as well,  G.K.W (God Knows Who).  This truly avant gaurde band was not everyone's cup of tea.  Laurence's acting role in this outfit amounted something a kin to spoken word.  G.K.W. released several cassettes over the course of the mid-80's which Laurence participated in under the a.k.a. moniker, Larynx Bond.  The band later gained status, recognized by Laurie Anderson in the world of performance art.

For the remainder of that decade, Laurence continued as band leader / songwriter for THE EMPTY SET (an offshoot of NON-FICTION).  Networking out of L.A., THE EMPTY SET recorded extensively, show-casing in LA., Chicago, Detroit, Boston, NYC, and Toronto.  In 1986, they released a 4-song 7” EP entitled “Wandering In Wonder”, and again in 1988, their full length LP “Lost In a Ryptide” hailed by Detroit Metro Times as “...a ten-song work of art!...”, both on their private label, LALA Records.  (During that time, Miller performed many of these songs unplugged on 12-string acoustic guitar, as LAURENCE BOND, releasing a handful of self-produced cassettes, locally.)

In the fall of 1989, Laurence and his two brothers Ben and Roger (as a departure from their priority projects) formed their recording collective, M3.  The Millers Three began recording a wild collection of original compositions and improvisations, later to be released in 1993 on SST’s subsidiary label, New Alliance Records.  This selftitled Cd, "M3", was reviewed in GUITAR PLAYER Magazine (June ‘93) as “ of the richest guitar albums to emerge this year…   Later in the year, Roger was hailed as “one of 30 most original American guitarist of the ‘80’s…”  


By early 1990 Laurence got sober & clean via AA's 12-Step Program .  He then formed his own record label & publishing company; FarFetched Records & Bond Voyage Music, soon parting ways with THE EMPTY SET. He had recorded many maniacal camp-rock originals in the late '80's in his home studio, performing all tracks himself, and now felt fit to release these with his brand new right-brainchild, LARYNX ZILLION'S NOVELTY SHOP.  Remaining as an obscure local cult phenomena, LARYNX ZILLION’S NOVELTY SHOP has 5 releases to it's credit.  Three versions of their manifesto "Southpaws Unite!"  ( a 7” one song picture-disc flexi sporting a special larboard mix AND a 9” six song flexi compilation AND a cassette collection version with 2 bonus tracks), "Songs of Recovery (from anything or anyone)" (transparent vitamin piss yellow vinyl 7” single), and "Queen of Queens", a 4-song special mix preview to their upcoming double-length feature, "Hotter Than The Dickens!"  This double-CD didn't see the light of day until spring 2016 after Laurence reformed a new & fresh ensemble under the same name, LARYNX ZILLION'S NOVELTY SHOP.  (Check out one of their wilder music videos clips from "those years" HERE!)

Meanwhile, as stated earlier, M3 released their self-titled CD collection in 1993 on SST’s subsidiary label, New Alliance Records ~ along with an ancient hidden treasure by their first band ever, SPROTON LAYER called WITH MAGNETIC FIELDS DISRUPTED.  NOTE: This highly inspired if not somewhat naive collection of original psych-rock material from their teen years would find later success in a remastered reissue on WORLD IN SOUND RECORDS, in 2013.

(Also, for a brief time during ZILLION’S reign, Laurence returned to his roots, dabbling into the Power-Pop Trio genre.  Miller put together a three piece called GORDON GIGANTIC. Although short lived, GORDON GIGANTIC’S self titled cassette, hit Top 10 on the Ann Arbor ‘zine, AGENDA’s List of “Best of ‘95”.

In the summer of 1996, shortly after regrouping LARYNX ZILLION’S NOVELTY SHOP for one last blowout, Miller chose to hang up his electrical performances for a good long time.  As in the mid-80’s, he again paired down to solo acoustic guitar, nervously hooking up with the New Folk revival.  Unplugging the cream of his older crop, mixed with a handful of recent material, LAURENCE BOND MILLER began playing out the local open mics and coffee shop venues in the Detroit/Metro area.  In the fall of that year, Miller recorded 10 originals, titled Laurence w/ a “U” as his first self-produced acoustic release in ten years.  Sadly, today’s Folk audience had a greater need for rehashed 60’s sentiments and politics than the landscape Laurence set out to offer;  Bitingly beautiful introspection, somewhere between Sylvia Plath and Robin Hitchcock...

It should also be noted that there was a period in the mid 90's where Laurence put together a mock lounge act, called MEZZANINE.  We won't bore you with the details, though like other creative projects of his, this one was clearly misunderstood.  Over time -- into the new millennium -- it evolved into a more sophisticated amalgamation entitled VELVETEEN BLUE .  A cross between a bloody "Blue Eyes" and "The King" on bad acid. 

MISTER LAURENCEIn 1998 Laurence reinvented himself and created a music program for children and began to entertain in the local preschools.  His immediate bonding with the kids (as with his own children) inspired him to continue.  Laurence soon came to the revealing conclusion that his real target audience may have been children?  As all teachers in the preschool community are addressed by their first name, Laurence had the chance to reinvent himself yet one more time, this time as MISTER LAURENCE. Over the next 10 years, with the help of The Play Money Band, his prerecorded backup group, "Mister Laurence" single-handedly wrote, recorded, and released over 10 children's CD's, produced 2 award winning children's music video collections, and developed his own radio personality via WCBN 88.3. Mister Laurence continues to perform to this day.

The Millers Three (M3) got together again at the end of the decade to record their 2nd CD, in 1999 entitled UNEARTHING. This collection was entirely composed of free improvisations and was released on Sublingual Records in 2001 with a single "live" show in Chicago to celebrate the product. Sadly, their priority-projects over the years pevented any further recordings or performances to this day.


Meanwhile, In 2003 Laurence brought back his tongue n' cheek vision of MEZZANINE, renaming the outfit VELVETEEN BLUE after David Lynch's film, Blue Velvet.  Though managing a gig at the prestigious Ann Arbor jazz venue, The Fire Fly Club, VELVETEEN BLUE quickly transgressed into an existential stand up comic routine -- and from there, returned to star dust.  Having said that though, they did manage to claim Finalist Award at The 2004 Philo T. Farnsworth Festival for their music video SHOOT THE PIANO MAN ~ a mixed collection of both their original and cover tunes.
End of story. (NOTE: A
 comic routine expression of this band idea with saxophonist twin brother Benjamin Miller
took place as an opener for one of Larynx Zillion's shows at Ann Arbor's Grotto Club in 2016.)

It was also at this time, the year 2003, that Laurence paired up with good friend Katsumi Nagae and formed an alternative folk duo. During their 4 year stint they managed to produce a decent "live" CD/DVD taken from a videotaped performance at Ypsilanti's Dreamland Theater. Though having recorded several quality tracks over
the course of their work together, no official studio CD was ever released. The duo folded in 2007.

Though children's music remains Miller's main focus, even to this day, the idea of getting into FILM had been swimming in his head for decades, and in 2004 the itch finally took root.  Laurence began having fun producing
short experimental narrative films, soon receiving attention, screenings and awards from various national festivals. Laurence is currently sitting on his latest script, "
AQUALUNG SECRET:  PROJECT DU-PLO". This production was derailed when Laurence began to focus on one of the leading characters ~ Zillion the Clown. Before long, he put the script down, before finishing, and reformed Larynx Zillion's Novelty Shop...

It should be added that Laurence began writing faith-based material too, inspired by his experiences in church between 2006 and 2011. A collection of songs were recorded at home resulting a collection called AWAKE IN YOU.

Laurence Miller had another itch needing scratching, as well.  ROCK & ROLL.  So, Miller formed a new band in November of 2007 called MY BIOGRAPHY named by his drummer (the same cat who drummed and named his 90's band, GORDON GIGANTIC). MY BIOGRAPHY was a cross between Miller's earlier bands NONFICTION and THE EMPTY SET.  Demo recordings and community television music video productions were made, but try as they may, no official CD product was ever released, and no real following formed.  The band folded by 2010.

It was around this time too that watercolor painting became a passion of his.  Miller had
dabbled in art in his youth with scribbly two-dimensional designs and color drawings using pencil or pen, and always executed under the influence.  Now long since sober & clean,  Miller began to re-render the most inspired of these on a larger scale using water color.  In 2010 he began working on a visual/audio art film project with his twin brother, called THE COLOR OF WATER.  Filming himself as he painted using an aerial camera mount, Laurence later edited the raw footage into a surreal visual presentation with Benjamin recording a textural soundtrack underneath.  2011 saw the end result of this joint effort with three DVD collections.  Laurence & Ben then put on an Ann Arbor Art-Show in 2014 at the Burns Partk Senior Center using mixed media along with the majority of the paintings. Self taught, Laurence continues to paint in his spare time.

2009 was a big year that saw "Mister Laurence" expanding his children's presentation from a solo karaoke styled performer into a duo with the beauty & brains of Ms. Princess Melinda on keyboards and vocals.  That fall they released their new Cd
MARMALINE (My Music Machine) with a debut performance. Mister Laurence's "expanding experience" began to take hold!

In 2010 a third member was added to the band, making it a full blown kiddie-rock power trio.  OSO the Drumming Bear (animatronic brainchild of Ms. Princess Melinda) hit the scene kicking royal butt in their award winning music video "I'm GLAD at You!"
with a real life debut performance in December of that year.  The band continued to produce wild kid-friendly music videos including;  STAR FISH,  THE SKY IS IN THE SKY,  HOW NOW BROWN COW?  and  THE TEDDY BEAR'S PICNIC
 and THREE BLIND MICE. They also created an award winning community television children's variety show, MISTER LAURENCE'S "Enchanted" GREEN TREE FORT winning 1st Place NATAO Award in the fall of 2010. Though officially breaking up as a performing band in fall of 2013, Laurence & Melinda managed to complete the production of their full length family-friendly near-zero-budget musical film called GROWING GRAPES FOR THE FUTURE!  with an official screening at Ann Arbor's YELLOW ROOM in May 2014. For current info:

remastered & reissued on WORLD IN SOUND RECORDS, much to their delight.  This was supported by 5 "live" shows, two in the Detroit Metro Area and three on the East Coast. A 2nd collection of archived recordings called PRESS YOUR HAND AND THE WHOLE ROOM FLUCTUATES is set for release in 2023 on Third Man Records.

Laurence hooked up with twin bother Benjamin Miller in 2014  to form their neo-psych-rock band recording project, EXPLODED VIEW. This idea came on the heels of SPROTON LAYER'S come-back-tour of 2013 with interest and backing from Germany's WORLD IN SOUND RECORDS.  Their LP recording was slow in the making since 2015 with signs of an official release date now in early 2022. Meanwhile, their mini EP 6-song CD release 'TRANSPOSING TIME' hit the Covid streets in August 2020.

2016 saw the temporary recreation/resurrection of LARYNX ZILLION'S NOVELTY SHOP as a new & improved ensemble featuring; Larynx Zillion: Guitar, Mosquito, and Voice ... Voxxy Sox: Vocals, Hand Percussion, Dancing, Bubbles, and Hula-hoop ... Willy the Barber: Synth Keyboards ... Katsumi Zoomi: Bass ... Ginger the Giraffe: band mascot. 
The band performed in the Detroit Metro area until they lost their drummer. Disheartened, the band regrouped with prerecorded drums off the original master tapes. They soon disbanded in 2017 as they did their best to record a brand spanking new CD. This production was finalized summer 2020 as both an EP CD and a CD Single under the name 'OPEN 24/7' released on bandcamp.

2017 got Laurence to surprise himself and rethink his roots, forming an old school R&B band called
LAURENCE MILLER AND THE LOVE MANIACS.  Imagine Fats Domino in a hard Chicago Blues format with heavy guitar and his originals following suit. Though the band is now extinct, their new CD FROM THE TAR PITS OF LOVE was officially released early 2022.

Laurence reformed his old band from the mid-70's, EMPOOL, with twin brother Benjamin Miller, in late 2017. Reason behind such a move was sparked by the interest Miller found in east coast's Feeding Tube Records. An LP of original recordings was released on July 27th 2018, with "live" performances taking place ever since. Tune in, Turn on, and then Tune Up... if you feel like it

And then the pandemic hit. Laurence has since been busy stuck at home digitizing master tapes from yesteryear. He's remixed and mastered over 25 CD Collections on bandcamp ... and counting

(in the process of re-editing)

From 1969 to 1971 (Ann Arbor, Michigan) Laurence played drums in Sproton Layer, a psychedelic rock quartet with brothers' Roger (Mission Of Burma, Binary System, Alloy Orchestra) and Benjamin (Destroy All Monsters, Nonfiction, degeneration). With all band members still in High School, Sproton Layer opened up for both Commander Cody & The Lost Planet Airmen and Carnal Kitchen (with sax player Andy Mackay). "With Magetic Fields Disrupted" was recorded in 1970 and initially released on New Alliance Records in 1992. The group was described as "Syd Barrett fronting Cream" in the book Our Band Could Be Your Life by Michael Azzarad. This obscure recording has been remastered and re-released 2011 on the German label WORLD OF SOUND with a 20+ page fold-out.

In 1976, Laurence and twin brother Ben joined with Cary Loren's Destroy All Monsters. In 1977,
as Destroy All Monsters' second incarnation, Ron Asheton (The Stooges) and Michael Davis (The MC5) joined the party, and for the next two years this Ann Arbor/Detroit-based punk band pumped out a haphazard wall of sound opening up for Sonic Rendezvous, Pere Ubu, The Ramones, Devo, Lydia Lunch, Suicide, The Romantics, The Stranglers, and many others. Laurence and Ben left the band late 1978 due to creative differences, but before doing so
left their mark on the band's first two singles; “You’re Gonna Die b/w Bored” and “November 22nd 1963 b/w Meet The Creeper". There were two songs recorded during that studio session, both penned by Laurence and Ben, which to this day remain unreleased;  Taken For Granite and Broken Mirrors.

"... While not as well known as the Stooges or the MC5, Destroy All Monsters
were another Ann Arbor band whose influence far outstretched its life as an
active band. Combining art punk, free jazz, garage rock and lead singer
Niagara's histrionics, Destroy All Monsters were the hidden link between
the Velvet Underground and no-wave bands like Sonic Youth..."
Josh Steichmann ANN ARBOR CURRENT Sept. 2004

XANADU, a recording collective made up of x-members of Destroy All Monsters quickly formed, producing a 4-song 7" EP entitled
"Blackout in the City" released in January 1979.

"...Black Out in the City begins with “No Change” as a pre-recorded toddler’s voice counts off “1-2-3-4”, but when the guitar bursts in like a twitching Ronnie Montrose overdosed on diet pills, the riffs come fast and furious and rock out to the max. As well they should, because they’re pushed up in the mix to dwarf everything but the Lou Reed vocals of Larry Miller who deadpans against his guitar riffs behind cool black shades. It really is one of the most unpredictable guitar lines ever as it stops, starts before it then begins all over again but never loses the rhythm for a second, which nearly herky-jerks itself off into a fit. It’s almost like Radio Birdman playing within a hollowed-out Rush exoskeleton -- but minus all the excruciating drum fills, temple bells, crotales and gong-a-gongs. The guitar is searching its pockets for yet another reason to riff on, and suspending disbelief, it manages to in the most incredible way. Miller searches his back pocket -- there’s another one! -- And from his left jeans pocket: another. It’s as though he had so many great ideas for riffs he couldn’t decide so compromised by chucking them all in and be damned with the consequences, which are awesome. Or he’s about to forget how to play guitar permanently by session’s end, so he’s got to get them all out right now. It’s a run on sentence of verbal guitar tersely reigned in against the pre-recorded rhythm guitar and faint drumming, which is bulldozed to the back wall. What did they treat the water supply of Michigan with -- amphetamines?!! Miller’s still singing behind his shades, interrupting his previous guitar line with yet another different one, and never once does it scatter into discord, but it dares to at any moment. Under-recorded handclaps then go neck and neck with an ever-stinging solo that stretches beyond the limits of its capabilities as it reaches out and throttles it out to the horizon of its eternal tangledness far beyond the fade out.

The Seth Man, Book of Seth / Dec 2000

Laurence continued working with his twin brother during the first half of the 80's, co-leading Ann Arbor’s post-punk bands THE SAME BAND, THE OTHER BAND, and NON-FICTION.  NON-FICTION, a well rehearsed power-trio mixing hard pop with the avant-garde, was one of 12 bands picked for Ann Arbor’s 1st compilation LP “Cruzin’ Ann Arbor” (1982).  This featured a song written by Laurence entitled Walkie-Talkie receiving favorable reviews nationwide. 

“...Nonfiction is perhaps the most creative and exciting band in Ann Arbor. An outgrowth of the Same Band, Nonfiction is composed of Ben Miller, his twin brother Larry and former Confessions drummer Bill Frank. Drawing upon influences as rich as Eno, Hendrix, MX-80 Sound and Pere Ubu, the trio has come up with an unusual fusion. In live performance, Nonfiction is simultaneously danceable, intelligent and funny. Though they are the supporting act on the bill, their set should be the musical highlight of the night..."

Bill Brown, The Ann Arbor News / 21 August 1982

"...There are questions that other musicians would answer until they were blue in the face (like ‘How did you come up with the name for the band?’) that the members of Nonfiction will answer in a few short sentences or a sincere ‘I don’t know.’ The bottom line is that they have no need of the gift of gab. Fluent in at least four different musical languages (jazz, rock, classical and experimental), they play what they need to say. And, on a good night, Nonfiction says it so well that the air can be filled with that electric sense that you were there when something exciting took place..." 

Bill Brown, The Ann Arbor News / 20 November 1982

"...aggressively avant garde pop - one of the few bands that can handle atonality and a beat at the same time..."

The Ann Arbor News / November 1984

In 1984, after reaching local notoriety, co-billing with such bands as The Replacements, Dream Sindicate and Lydia Lunch 8-Eyed Spy,  NON-FICTION released a half-live half-studio double LP cassette called "Walking Sideways, Talking Backwards".

“ local release of the year!..”

Detroit Metro Times Dec 1984

The band, disheartened by local club politics, disbanded in Spring 1985.  Miller then decided to do the next best thing.  Go solo.  This was when he first began writing and playing out "unplugged", opening for established local groups like RHYTHM CORE and MAP OFTHE WORLD. Without a record label behind him, Miller was forced to go it alone and record his self-produced four-track cassette tapes on his own.  Vinyl was too expensive, and Cds were beyond affordable, unlike today where one can record and burn them at home a dime a dozen. The best of these recordings made it to his CD collection, "DEMONSTRATION". This new acoustic direction helped fuel the softer side he'd lost. A year later, and for the remainder of that decade, Laurence continued as band leader / songwriter for THE EMPTY SET (an offshoot of NON-FICTION).  Networking out of L.A., THE EMPTY SET recorded extensively, show-casing in LA., Chicago, Detroit, Boston, NYC, and Toronto, opening up for such bands as Hoodoo Gurus and NoMan.  In 1986, they released a 4-song 7” EP entitled “Wandering In Wonder”, and again in 1988, their full length LP “Lost In a Ryptide”

“...a ten-song work of art...” 
Detroit Metro Times / June 1988

In the fall of 1989, Laurence and his brother, Ben and Roger (Mission of Burma) formed the recording collective M3 and began working on a collection of original compositions and improvisations, eventually released in 1993 on SST’s subsidiary label, New Alliance Records. This was the first time all three brothers worked together since their late 1960's acid rock band, SPROTON LAYER.

"...M3 self-titled debut CD; one of the richest guitar albums to emerge this year…  
Guitar Player Magazine / June 1993

Being that no brother lives in the same state, this long-distance collaboration is infrequent at best. A second CD was recorded late 1990's and released under the name UNEARTHING in 2001.

By 1990 Laurence formed his own record label & publishing company; FarFetched Records & Bond Voyage Music, parted ways with THE EMPTY SET, switched gears and began recording and releasing maniacal camp-rock originals for his brand new right-brainchild, LARYNX ZILLION'S NOVELTY SHOP.  Remaining as an obscure local cult phenomena, LARYNX ZILLION’S NOVELTY SHOP and it's various band mates aquired 5 releases to it's credit.  Three versions of their manifesto flexi-disk "Southpaws Unite!" , 45 rpm "Songs of Recovery (from anything or anyone)", and "Queen of Queens" -  a special mix cassette preview to their still unreleased double-length feature, "Hotter Than The Dickens!"

"...Disneyland on fast-forward, spinning out of control...”

Decontrol (Alabama) / June 1991

"...probably won’t be understood by the American listening public until late in the 21st century...”

Ann Arbor CURRENT / March 1992

“... * * * *  4 stars ... David Bowie at his most glam and experimental...”

Ann Arbor News / May 1996

“...some of the most multi-layered twistedly complex rock and roll to ever spring from this city. Whether it be Steve Reichian time signatures, stereo headphone freak-outs, science fiction psycho ward confessions of a religious vision with a band that crashes the wall at 180 mph, Zillion is a master of bizarre timing, maniacal ravings and guitar solos from all-night radio stations, blasting from the boom boxes of hell!   In a world where most “R & R” bands are more concerned about THE BIG RECORD DEAL, Larynx Zillion’s Novelty Shop is cause for celebration!...”

Agenda - Ann Arbor’s Alternative / June 1996

"...Ann Arbor’s Mothers Of Invention..."

Jam Rag (Detroit) / December 1996

Miller put together a short lived three piece called GORDON GIGANTIC in 1996 releasing a self-titled cassette.
"... Top 10 Best Local Releases of 1995" 
Ann Arbor AGENDA’s / January 1996

By the time the new millennium arrived, Laurence had reinvented himself as MISTER LAURENCE and his Play Money Band.  A unique class of children's entertainment, performing along to his original recorded backing tracks to kids of all ages.  He has continued with this persona to this day, along with his solo-singer-songwriter performance and various music & film projects, including a short-lived rock band called MY BIOGRAPHY.

SPROTON LAYER 2013 Reunion mini-tour

"... A decade ago Mission Of Burma bucked the trend and became one of the rare instances of a rock band - one which had disbanded at the peak of their powers - reuniting and not only not sucking but going on to a whole second act, no less creative and vigorous than before. This year Roger pulled yet another neat trick, reuniting the high school band he had back in Ann Arbor with his twin younger brothers Benjamin and Laurence, and doing some select club dates that were not only not embarassing, but a positive revelation.

Sproton Layer at N.Y.C.'s Mercury Lounge this evening showed that the teen trio's sources were pretty close to the surface - lots of Interstellar Overdrive, some jagged Crimson riffing, a little 'out' jazz and plenty of late psych flourishes, including some Forever Changes trumpet blasts - but they made them into something of their own and delivered them with the benefit of 40+ years worth of hard-earned chops. It's definitely music of its time (1969-70), but you could hear plenty of premonitions of what they would go on to do in MOB, Destroy All Monsters and their other projects over the years. It also sounded convincingly contemporary for 2013, and how many people could say that about their high school band?

In a perfect world Sproton Layer, too, would pick up where they left off and carry on for a few more great records, but who knows if their other projects will allow that? In any case, if you get the chance to see them by all means go, you're in for a treat..."

John Neilson - CREEM, Option, Matter, NY Rocker  July 27th 2013

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