Attenuated Euphoria
Formed in 1991, and still lingering in the local underground/electronic geek scene like a persistent and irritating venereal disease, Attenuated Euphoria is the one-person effort of the notorious studio-dweller M.C.Death. Giving up any ambition to play in a traditional "band," due to his staunch refusal to tolerate and endorse the madness of irrationality, the band-politic bullshit, and the rock-star posturings of its participants, M.C.Death uses Attenuated Euphoria as a vehicle for his shameless plundering of ideas and sounds of his musical inspirations, such as Duran Duran, Nine Inch Nails, and Thine Eyes/ml.

Although devoid of a band proper, Attenuated Euphoria recently played its first live show, with more shows to come. However, M.C.Death is not ruling out a possibility of forming an Attenuated Euphoria live band in the future, but that will happen purely on his own terms. When he encounters a combination of other artists who demonstrate exemplary levels of musical skills, creativity, rationality, logic, and selfishness--where such artists may be found--the band may become a reality. In the meanwhile, Attenuated Euphoria continues to exist, to the irritation of many.

Diào was a bass, drums and vocals trio consisting of Cedric Justice, PJ Vanek and Cameron Hays. Describing themselves as "avant pop," Diào is remembered for catchy melodies, sparse arrangements and non-traditional time signatures. Generation Excuse is the electronic/acoustic solo project of Diào bass player Cameron Hays. It is a melange of electronic beats with a strong Jazz, Classical and World music influence. Throw Me A Line is a remix of a live performance of the song at Satyricon in Portland, OR on August 1, 1999. In a strange twist of fate, there is absolutely no real bass in the remixed version.

The solo brain child of Veronica Jayne, Fiercen is an electronic music project dedicated to the creation of all manner of noise, from ambient soundscapes, disturbing sonic atmospheres and cacophonous aural collages to darkstep, trance and jungle to raging digital hardcore and everything in between. Sometimes rhythmic, sometimes arrhythmic; sometimes soaring, sometimes grating on your last nerve. Sometimes vocal, sometimes anti-vocal -- words are used as much for their sounds as for their meanings, and often are not used at all.

Veronica Jayne has worked in just about every facet of the music industry, and has finally decided that making other people famous truly offers no fulfillment for her. She is now head of her own multimedia and web design company, Jayne A\V [audio * visual * media * design]. Jayne also designed the packaging for this compilation.

Landscape Body Machine
Landscape Body Machine came to be in the mind's eye of its sole member Craig Joseph Huxtable in 1992. The LBM concept is to encompass three distinct musical directions (Ambient, Dance, Industrial), while reflecting the three most prominent components of the modern world (environment, humanity, technology).

The first album Structure was released in 1996 to much praise worldwide. Since then LBM has done several soundtrack works for video games and film as well as playing live around the Pacific Northwest.

Subterranean II (The Terraforming): the process of making an alien planet (such as Mars) more Earth like.

Lateral Tension
In early 1997 the formations of Lateral Tension began to emerge. From deep within the cracks of the mind came forth the reflections of something both real and insane. The creation of A.J. Razor, Lateral Tension gained volition when Razor and Malachi began experimenting with sound. Both playing off each other in perfect union and into the hands of something dark and cathartic, the sound grew into structures of what came to be their demo release CD titled Pressure Device. In late 1997, after the initial recording of Pressure Device, S.R. Lankhaar joined the group. Initiating a complimenting stream of samples and noise, Lankhaar added to the live effect and stage chaos.

The 14-song demo was independently released on January 3, 1998. Initial response to the CD was impressive. After initial exposure on a well-known industrial newsgroup, the band began receiving favorable reviews and was soon picked up by both DSBP (Biopsy, Diverje) and Catastrophe Records (SMP and Fiercen). In June of 2000, the group began performing warm-up shows in the Northwest in preparation for an upcoming West Coast tour to begin at the completion of their next release titled Moral Fracture which is due out later this year.

lxl (pronounced "el ex el") is the compositional project of lx. lxl began in 1996, and in the years since its somewhat ambiguous inception it has evolved from a strictly digital eccentricity into a marriage of distortive digital recording and classical and orchestral compositions, with a touch of Gothic Rock.

The Transcendence version of Scissors marks a significant stylistic shift, with the addition of live instrumentation from Duckworth McKay (previously of various noise projects), and the departure from a strictly instrumental format as previously released under Doppler Effect.

mfd is fluid. helplessrmx is indicative of the sounds I was using in late 1999, coming from a dance direction; as I write this description in July 2000, new material is both more pop-oriented and more ambient, with shattered, undanceable beats. As always, the music is very minimal.

While helplessrmx is very explicitly political in its lyrics, more recent material from mfd is more subtle as it explores the politics of alienation. The album that I'm finishing now, spilled pop, is a disjointed reflection of life in late modern society; conscious of the "double hermeneutic," I situate mfd in a position to consciously inform the social as it is informed by the social. In doing so, mfd begins to see through fractured, insect eyes, telling small narratives of disenfranchisement and alienation from a variety of subject positions.

spilled pop will be finished by September 2000; a remastered and reworked version of mfd's first recording, justice is waiting, will be finished by October 2000.

Noxious Emotion
Noxious Emotion has an EBM sound to move your ass, as well as upbeat New-Wave rhythms overlaid with Medieval melodies and a mechanical undercurrent that gives this music a depth rarely found in the Industrial Dance style. Lyrically, also, the band set themselves apart. While many bands aim to shock, Noxious Emotion prefer to make you think by delving into their own personal feelings and pain for their lyrics. If you think Seattle is synonymous with grunge and guitars, Noxious Emotion will remind you that the Northwest is home to some of the finest and most innovative Industrial sounds around. The band's frequent performances locally and recent shows across the U.S. and Canada (including Alaska) have pulled ever growing crowds to their feet and out onto the dance floor.

Even though February of '98 marks the mere first 365 days of OMNIbOX proper, there's more beneath the fresh gloss. The music has age, a vibe that goes beyond CD rack classification or web site biographies. Mike Lewis and Brandon Hutchinson generate headspin rhythms with jack hammer guitars and deep space synths.

Parallax1 offers a new experience of sound forms, from ethereal/transparent to poundingly physical- shifted and shaped by the hands of its' creators, Cliff Livingston and Kara Thrasher-Livingston. The collaboration has existed since 1986, being involved with many musicians, bands, performance art, theater and video projects. They have performed on the east (NY/NJ/PA) and west (Bay area) coasts, and now make Alaska home. The current line up consists of guitar/synth, bass, and drums. They are entering the studio to make a full length cd with all new material in the fall of 2000. Parallax1 takes an experimental approach towards making aggressive, emotional, poly-rhythmic dance-oriented music. We believe we offer the finest sounds that can be manufactured in any frozen wasteland.

Pet of the Future
Pet of the Future is the Portland-based solo project of electronic musician Greebo. Utilizing modern electronic music technology, Pet of the Future aims to engulf the listener in a world of vibrant atmosphere and dramatic intensity.

While SMP is in the process of soliciting labels for their upcoming CD Ultimatum, they have been working on a number of compilations. Born of Science will appear on the Transcendence CD by Doppler Effect. Fun & Games will appear on the Cyberbabies CD. Wet Wire will appear on The Glory of Destruction CD by Catastrophe records. Metro, a Berlin cover song, will appear on Nod's Tacklebox of Fun by Cargo/Reconstriction. An SMP remix of the Collide song Strange will appear on the Collide remix CD Distort by Cargo/Reconstriction. Finally an SMP remix of the Scar Tissue song Crashtime will be released by 21st Circuitry.

Thine Eyes/ML
Thine Eyes is ML. ML is Tanner, Laird and Rian. ML is cultureless and brightly lit. If you like ML, you might also like Christian Sex Loops and My Knobs Taste Funny, available from Doppler Effect Records. Or, you might enjoy a career in electrical engineering.

Triple Point
Vico and Dan are just two regular guys, trying to make sense of a wiggly world. First formed in 1991, Triple Point is the duo's attempt to create some dark yet danceable tunes and make a connection with that world. Stolen goes back in spirit to the band's 1995 demo, but the music has been completely re-written for the Transcendence version. The band's first full-length CD, The Soul Den, was released in late 1999 and they are hard at work on the follow-up, which should see the dark of night in 2001.

Tri-State Killing Spree
Formed in 1996, under the name Tri-State Killing Spree, 3SKS has consistently enchanted audiences with their music and stage antics. Their music is described as a symphonic blend of haunting melodies and orchestration which combines instrumental textures and amazing vocals.

In 1998, their self-titled EP received local radio play upon its initial release. Their cover version to the hit song Time After Time (available on their LP) went into heavy rotation throughout college stations around the country. By June 1999, 3SkS had financed; produced, designed and distributed their own full-length album titled Happy, Death, Heaven. InMusicWeTrust E-zine named this album one of the top ten best albums of 1999 thereby aiding sales with major Internet vendors (Amazon,, etc.) as well as key record stores throughout the country.

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