to signing with a major label, "It was always important to stay independent long enough to set the parameters of the band, so that anyone who came on board would be clear what the band was like and how it should be marketed." Their first album, Light Speed Collision, was released in November 1992 in a vinyl-only format via Phantom Records; it appeared in CD format through EMI in the following February. The album included guest vocals by New Zealand pop singer, Margaret Urlich. For its United States version, on RCA/BMG in June 1993, the band used the name, Definition FX, to avoid confusion with a US band, Das EFX. They reordered the tracks and added material from two of their EPs. Lowry explained to Nic Haygarth of The Canberra Times that "People get the misconception that because we're a technology-based band we do a lot of our work and development of songs in the studio, but I suppose what we do there is attempt to transfer the live show to record, and we might put up a very rough mock-up of a song and start playing it." The second album, Baptism, released in 1993, is a compilation of three Australian-released EPs Water, Surge and Blink as well as a 12-inch single, "Surfers of the Mind". Baptism featured the track, "Make Your Stash", which is apparently so rare that Horne had no idea of its existence when presented it for autographing by a dedicated Def FX fan. The single was rather atypical of Def FX, in that it had no cover art and no B-sides, which had characterised their EPs. The band usually preferred to make each release, be it album or EP, a conceptual work that made full use of the compact disc format that had recently come into commercial prominence. At the ARIA Music Awards of 1993 Blink was nominated for Best Independent Release. Three more EPs followed No Time for Nowhere (March 1993), Space Time Disco (June) and Post Moronic (September 1994). At the end of 1993 Basha had departed and his duties on bass guitar were taken up by Van Kriedt. Post Moronic appeared on the ARIA Singles Chart in the top 50. One of its tracks, "Masses Like Asses", was listed on the Triple J Hottest 100, 1994. Ritual Eternal (1995), their third album, is more experimental: including tracks without standard guitars and others with