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
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.
Fiercen
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
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
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.
OMNIbOX
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
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.
SMP
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,
Cdnow.com, etc.) as well as key record stores throughout the country.
