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AREA 88 was created in 1994 by synth programmer Jon Irish (AKA case) as a reaction to the same mass produced synthpop that has been flooding the music industry for years.

The music consists of classic synths, synthetic drums, heavy processed samples, and primitive sequencing. While the music is more than mechanical, the vocals seem to remain focused on a more human side of the 20th century. Sex, pornography, revenge, and the carnal obsessions of every day society are all covered, and confronted with an up front honest perspective.

Attenuated Euphoria

Electronic mayhem is the name of the game for Portland's Attenuated Euphoria. Formed in 1991 and still staying true to sequencer-driven madness and abstraction, Attenuated Euphoria has always marched to the beat of a different drum machine. Industry trends and catchphrases such as "alternative," "grunge," "trip hop," and more recently "electronica" may come and go, but this project of founder (and only member) M.C.Death assimilates, obliterates, and plunders into established musical genres and trends to concoct a vital outburst of electronic outrage and intensity.

"Danger" is Attenuated Euphoria at its height of quirkiness--taking elements of vintage synthpop and adding an inordinate amount of noise and eclectic deviation, as well as a hint of electro-industrial. Pop goes the boll weevil.

In case you were wondering how to pigeonhole Attenuated Euphoria, wonder no more; M.C.Death has already done the groundwork for you, as he proclaims Attenuated Euphoria to be the world's first Riot Nrrrd band (Riot Nrrrd is an aesthetic in which technology is used and abused in order to achieve the goal of expressing profound creativity and discovering new meanings, as well as propagating a paradigm shift of kinds).

Planned for late 1997 release is Attenuated Euphoria's first full-length effort, titled _Textures and Modulations_.

M.C.Death is also a keyboardist and electronic drummer for fellow Portland outfit AREA 88.


lxl is the solo musical project of lucian X. combining aspects of ambient electronic soundscapes and industrial rhythms, the ideas behind lxl aspire to manifest a harmonious blend of melodic beauty and structured noise. the methodologies revolve around the material never leaving the digital state during production; sampled source data is manipulated entirely through computer-based digital signal processing, and sequenced through a customized self-programmed device. as a result, the music develops into a mix of tightly controlled organization and highly variable experimentalism.


Consumer oriented culture seeks to name, classify, categorize, marketize and systematize. We are trained to interact with everything on this level. True art exists on a plane above these limitations, reflecting beyond language and stylistic limitations. The development of art in a society is similar to the development or need for religion and/or spirituality. At one time there was no clear cut separation between art and religious or spiritual activity/philosophy. These were all a way of ritualistically expressing or explain the unnamable, [infinite] feelings of beauty.

With this premise, describing what Mesmer is, becomes a paradox in itself. Everything is a paradox, that is the key. Art/creativity = [Mirror] reflection = Dualistic Paradox. Creative endeavors are a powerful weapon and oracle for our time. Music can be used to [short circuit] the easily trodden pathways of mass hypnotism and manipulation. Music (if sought out) can allow one to harness their own true will that is not a dictation of society. A higher form of expression and communication. A Trigger. A transcendental state of [mirror] reflection on [infinite] levels. We can claim our birthright once again and reprogram our essence, [pure essence], previous our outside of standard programming. The primal seed channels through our spirit and the will to propagate our evolution.

So, maybe music can be used as a device to prepare for an evolution in other areas. A foreshadowing. The same role of the shamen in "primitive' societies can be re-enstated by the artists. Franz Anton Mesmer healed with magnetics, Mesmer seeks to heal and transmit possibility through sound. But really, this is all paradox because these words are just one moment. Mesmer is also an outlet to re-create emotions, whatever feels good, when it feels good. That's all and everything as well as nothing. It's fun.

Mesmer is a constantly changing vehicle established by Der.Eck in 1996, after several years of frustrating group musical interactions. Mesmer is his own composition and production, featuring an ever changing whirlwind of collaborators. Nothing is fixed except exploration. In it's most recent live performance incarnation Mesmer consists of Der.Eck, Aspen Nacia, Clint Sargent (of Bella Low), Charlie Zumo (of Kaitlyn Ni Donovan Band), and Enrique Vgalde (of Black Orchid). Mesmer's current location of operation is Portland, Oregon.



Blame it on Satan's Ugly Sister and her Troublesome Monkey.

An ear was whispered into, a few phone calls made, and the mayhem ensued.

Satan's Ugly Sister and her Troublesome Monkey created four creatures with four completely different mindsets, mutilated them into Nobody and from Nobody came the beautifully confusing, sexually maniacal, psychotronic auralstrations ov a doomed and pitiful generation.

"Ya know", said Satan's Ugly Sister, "the rock and roll will call it goth , the goth will call it pop, the pop will call it techno, the techno will call it industrial, the industrial will call it rock. What better way to collect the souls ov all those ignorant, self righteous, pigeon-holing 'music' lovers who just love to put things in a category, then by giving them a brain aneurysm trying to figure this one out."

"Hee hee hee", laughed the Troublesome Monkey.


Nocturne has proven to be able to embrace and evoke dramatic emotional extremes on stage, without falling into the quagmire of parody or melodrama. The quintet's darkly romantic music seethes on record and boils over live.

When signer/lyricist Jeff joined with guitarist Tadashi in 1994 they were dedicated and happy to work a year and a half forming their group. Finally they were introduced to Ashe, who was playing bass mated to Mark's drums in Portland's active experimental scene. The rhythm section sound blended with Jeff and Tadashi's love for dark rock bands like Fields of the Nephilim and Swans, adding up to a kaleidoscope of influences and ideas. In September 1995, the new band picked up keyboardist Megan, and was ready for the stage by October.

Nocturne's music reflects the shadows that shroud one's hopes and dreams. The songs themselves are etched with the epic qualities of death in life and pain in love. These cosmic themes heighten the strong emotions inherent in the lyrics on Nocturne's debut EP "Of Beauty and Decay."

Nocturne refuse to coat themselves in sepia colors of ethereal darkwave, nor clad themselves in the pantomime cloaks of parody gothrock. Instead, they balance their haunting melodies with powerful guitars and driving rhythms, shrouding the edge in a melancholy atmosphere.

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, dramatic intensity and overwhelming emotion. The Pet of the Future project began in early 1997; "Night Vision," contained on the "Undercurrent" compilation, is the Pet's first official release. "Night Vision" explores the realm of electro-industrial dance music. The future of the Pet's work will continue to explore this realm, and expand into (and combine) other genres such as ambient, gothic, trance and others.


RKiK ("archaic") was founded on the basis of darkness. Darkness in soul, darkness in music. Attempting to be a merge of dark dance and industrial music, RKiK dives into chaos, to bring up its own form of emerging order. RKiK started as a low-tech answer to dance music. Starting with only a primitive sequencer/sampler, a microphone, and primitive recording techniques, a twisted sort of music started creeping about. Graduating to higher tech equipment, and finally to a full home studio, the sound quality of RKiK has changed, but the initial sound struggles to remain.

Runes of Desire

A mechanical edge, a driving beat; nothing more, nothing less.


Even from its early stages of infancy, SpineFolder has continuously received praise from a variety of sources. Eluding simple categorization, this one-man electronic music project manages to capture the essence of a variety of styles. From harsh electro-industrial punk to brooding washes of dark ambient to dramatic soundtrack images, SpineFolder delivers excellently produced electronic music which defies explanation or prediction.

Triple Point

Triple Point is the shared vision of Victor Mejia and Daniel Hinds. While Vic grew up on the likes of The Cure and The Jesus and Mary Chain, Dan leaned toward the Loudness and Mercyful Fate side of things. By the late 80s, though, they found a common interest in industrial-dance music and decided to work on music together.

Generally, Dan is responsible for creating the music and Vic the lyrics and vocals, though some crossover has occurred here and there. While general writing everything on a sequencer, the two have also added live guitar and bass to a couple songs.

Recording three demo tapes so far, Triple Point has covered a variety of styles, from goth to techno to industrial metal. With their contribution to the Undercurrent compilation, the duo utilized a more experimental approach to create "Lorrie Pours Out." Yet another side of the band can be heard on the orchestral/techno cover of the theme from Dynasty that will appear on ReConstriction's TV Terror compilation later this year.

Violet Arcana

Violet Arcana was conceived in 1993 as a collaboration between David Duddleston and Jeremy Wells to create an organic new sound in electronic music. They suceeded, breaking new ground with their debut album, 'In the Scene of the Mind,' released under Germany's Zoth Ommog label, in 1994. Their music infused a soundscape of euphoric melodies, melancholy rhythms, and whispering vocals, in a hybridization of ambient-trance and synth-pop. Since then, Violet Arcana has released several recordings on multiple compilations, and developed their own label, Ein Produkt; handling most of their promotion and distribution through the internet. Their second album, 'Sonic Aquarium,' released in 1997, enhances the original vision with dance inspirations, and although currently David Duddlestons solo project, includes several remixes from their premiere album. (by Maria P. Hiestand)

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