This series of articles is extremely popular with my blog readers, including you now, as you allow your eyes to gaze upon clever wording of About [artist] in the MySpace Music arena.
My favorite About/Bios are either funny or highly informational.
When an artist makes fun of themselves, or says irrelevant things in their About section, it's a refreshing change from the old-fashioned rock star syndrome of celebrity worship.
I often wonder about various bands I've liked in the past. It's nice that with almost every significant band, the popular and the obscure, on MySpace now, we can get up to speed with what our favorite bands are up to, and how they began.
Str8 Sounds Secret Transmissions
Steven Streight and His Sounds are at it again, this time it's the night before Christmas Eve 2008. This, with whatever value future scholars may find in it, is a collection that until now has remained under the radar. These are the hidden therapeutics, the esoteric transformative tunes that I should not have released to the public: out-takes, improvs, exaggerations, and new trends in modern music.
Fruit Bats
Fruit Bats began in the mid-1990's as the four track band of Eric D. Johnson. A lot happened in between then and now. These days it's a band with guitars and people and singing!
A$$tro Cadaver
two great philosophers met one day lost in kropotkin forest. they met as particles in a cloud of metal floating around london town. thier powerful intellect worked in tandem to create astonishingly complex sonatas of heartwrenching brutality and exposes the fundamental unreality of reality. dude.
Luc Ferrari
Ferrari was born in Paris and studied the piano under Alfred Cortot, musical analysis under Olivier Messiaen and composition under Arthur Honegger. His first works were freely atonal.
In 1954, Ferrari went to the United States to meet Edgard Varèse, whose Déserts he had heard on the radio, and had impressed him. This seems to have had a great effect on him, with the tape part in Déserts serving as inspiration for Ferrari to use magnetic tape in his own music.
In 1958 he co-founded the Groupe de Recherches Musicales with Pierre Schaeffer and François-Bernard Mâche. He taught in institutions around the world, and worked for film, theatre and radio. By the early 1960, Ferrari had begun work on his Hétérozygote, a piece for magnetic tape which uses ambient environmental sounds to suggest a dramatic narrative.
The use of ambient recordings was to become a distinctive part of Ferrari's musical language. Ferrari's Presque rien No. 1 'Le Lever du jour au bord de la mer' (1970) is regarded as a classic of its kind. In it, Ferrari takes a day-long recording of environmental sounds at a Yugoslavian beach and, through editing, makes a piece that lasts just twenty-one minutes.
It has been seen as an affirmation of John Cage's idea that music is always going on all around us, and if only we were to stop to listen to it, we would realise this. Ferrari continued to write purely instrumental music as well as his tape pieces. He also made a number of documentary films on contemporary composers in rehearsal, including Olivier Messiaen and Karlheinz Stockhausen.
People Like Us
People Like Us played there first gig three days after meeting sometime early in June 2008.
At the time all based in Ladbroke grove west London and brought together by one special pub called The Cowshed, thanks to its free thinking landlords Micheal O' Donovan & Jamie Weaver who allowed them to rehearse all over the pub night & day.
Their first gig like the others to follow was a spontaneous, ramshackle & debauched occasion, this time at a squat pub in Hackney, there were a lot of punk bands playing that night & the band all hopped up & M.dizzled was said to be more punk than the punks, with there frenzied & loose, melodic attack of the eight or so songs they'd got together over the past few days. Now with bugs up there asses & a taste for the buzz of preforming they got back to rehearsing, this time with drums stripped back to floor tom & snare.
Living on Portobello's door step, they took the busy Saturdays as an opportunity to bust it out in front of hundreds of people, siphoning electricity from friendly shop owners & landlords. From the street gigs and back with a full kit they where invited to play at an opening exhibition for a local video artist.
Turning up late & clambering through with gear into a diminishing crowd it didn't seem promersing but, with the hypnotic chorused guitar & the banging garage back line filling up the large warehouse space, it wasn't long before the viewers were dancing, add to that the video art being projected on the to the band and the fact they were joined halfway through the set by Ned Scott from The Egg it all added up to be a night to remember.
The band since then have played on bills with The Chapman Family members of the Holloways, The Saudis, Minipuma and a few others ???? ;). People Like Us are currently back in the studio working on new music.
Throughout the whole PLU experience Jack the lens has been capturing everything he can on film & we can hope to see good things from that in the future. Remember People Like Us Do It Yourself!
Noveller
Noveller is the solo project of Brooklyn-based sound artist and filmmaker Sarah Lipstate. She has performed in Rhys Chatham’s Guitar Army, and as a member of Glenn Branca’s 100 guitar ensemble. Recently, Lipstate joined Parts & Labor as their new guitarist.
She has previously performed as one-half of the experimental duo One Umbrella and as a member of the Brooklyn trio Sands. Her short films have screened for two consecutive years at SXSW, and earned Lipstate the "Diamond in the Rough Cut" award for exceptional emerging filmmaker at Cinematexas 2006.
Lipstate received a BS in Radio-Television-Film at the University of Texas at Austin in December 2006, and currently resides in Brooklyn, NY.
Mandy Ventrice
For the sake of those who actually read these little “about me” sections…
My story isn’t that much different than any other singer/songwriter/producer/starving artist; I eat, sleep, breathe and bleed for music and opted to skip college in order to have more time to chase after the [sometimes I think] impossible dream of being successful doing what I love.
I was born and raised near San Francisco, and started belting out those tunes at the age of two; granted most of it was gibberish. I started writing songs around the age of seven, thanks to the heavy influence of my dad who is also a musician. My parents divorced when I was a young buck, and by the time I turned fifteen, my mother and I re-located to Los Angeles. Shortly after, I joined a girl group and moved to Boston and spent my days rehearsing pelvic thrusts and singing bee-bop-bubblegum pop songs. And yes, I wore the midriff proudly.
After all of that turned stale, I went back to California to start anew. By the time my eighteenth birthday strolled around, I convinced myself it was absolutely necessary to move to New York all by myself to further pursue my career in music. After a lot of skipped meals, identity crisis’, distraction and indecisive behavior, here I am today…twenty-three and still kicking and screaming.
Brian Miller
http://www.myspace.com/brianmillerisafaggot
Now I don't even need a band to play music.
Tuxedo Moon
Tuxedomoon are a welcome exception in today's over-formatted musical world.
Born in 1977, in the heady atmosphere of San Francisco’s postpunk golden age, the band soon became a central part of New York's No Wave scene (as documented in the recent "Downtown 81" film, centered around Jean Michel Basquiat and featuring performances by Blondie, James Chance, DNA and Tuxedomoon). "No Tears", their 2nd single (1979), has remained an electro punk club classic to this day.
The band went on to sign to The Residents' Ralph Records, and released two seminal albums, "Half Mute" and "Desire", which soon got them overseas exposure.
Fleeing Reagan's America, Tuxedomoon moved to Europe in the early '80s, and stayed there throughout the decade. Although their ability to crystallize a certain dark and romantic zeitgeist quickly turned them into one of the most influential bands around, their music transcended all genres and included impossibly wide parameters –rock, electronics, minimal music, classical, jazz, Gypsy music and pop were all simultaneously consumed and transmutated into a quasi-prescient blend.
After releasing a string of albums on CramBoy (the imprint they set up with Brussels-based label Crammed Discs), the band stopped recording together in 1988, and the various members pursued solo careers, becoming as disparate geographically as sonically, with Steven Brown (vocals, keyboard & saxophone) living in Mexico, Peter Principle (bass, electronics) in New York, Blaine L. Reininger (vocals, violin, guitar) in Greece, and Luc Van Lieshout (trumpet) & Bruce Geduldig (films/visuals) in Brussels.
Many years later, Tuxedomoon got back together to write and record the awesome "Cabin In The Sky" album (2004), which found them in absolute top form, as romantic, rebellious and boundlessly imaginative as they ever were. "Cabin" featured contributions by a carefully hand-picked selection of guests such as Tarwater, Tortoise's John McEntire, Nouvelle Vague's Marc Collin, Aksak Maboul (aka Crammed founder Marc Hollander and Konono N°1 producer Vincent Kenis) and DJ Hell.
Shortly after finishing "Cabin In The Sky", Tuxedomoon traveled back to San Francisco, the band's birthplace, in order to start writing material for their next album.
But the local atmosphere had unexpected effects on them, and drove them to record a series of "spontaneous compositions" (as Mingus would have put it) instead, which soon formed the basis of a side project entitled "Bardo Hotel Soundtrack", loosely connected to Brion Gysin’s novel ‘The Bardo Hotel’ set in the Paris hotel where he and William Burroughs invented the radical cut-up/fold-in technique.
Both "Cabin…" and "Bardo Hotel…" were warmly welcomed, and a wildly eclectic, almost surreal array of references sprang from the pens of reviewers trying to describe Tuxedomoon's music (Charles Ives, Radiohead, Philip Glass, Miles Davis, German electronica, Tom Waits, John Cage, Kurt Weill, Tortoise, Can…).
If anything, these two recent albums revealed that Tuxedomoon were never connected to a particular period: they had become '80s cult figures simply because that's the period in which they happened to develop and rise to fame… but the band have always been evolving in their own space, and their music is as relevant and fresh today as it was then. An impression to be further strengthened by their upcoming new album "Vapour Trails".
To celebrate the band's 30th anniversary, Crammed will also be releasing a limited-edition boxed set entitled"77o7 tm", which will include the new album along with a CD of previously-unreleased archives, a DVD containing 160 minutes of rare or previously-unreleased videos, and a live CD recorded in early 2007.
Front 242
Front 242’s entire history was clearly defined from the start when, in 1981, Daniel B. laid out his ideas on the first single : Body to Body. Following the recruitment of Patrick Codenys (keyboards), and Jean-Luc De Meyer (vocals) in 1982 for the first album GEOGRAPHY. In 1983, Richard 23 joins and completes the band as stage performer and vocalist.
A year later, the project / band developed and quickly reached a specialised audience in Europe. Successive tours and records are logical conclusions of the same concept of electro-induced energy music. At the same time, the band already provided for it’s needs by having their own recording and graphic units. Wax Trax from Chicago is interested in Front 242; they sign what will be their first US release : the EP “Take One” (1984)
In 1985, the band played for the first time in large European festivals and flew to the US for some dates.
They were soon tagged as a very powerful live group, and this form of music continues to spread across Europe under the monitor of “Electronic Body Music” which is the term Front 242 used to described the music they have invented. It is a collage, a synthesis of music and sound, recycled from the media or TV; and Front 242’s own interpretation of other artistic disciplines.
1988 saw the release of “Front By Front ” (including HeadHunter and Welcome to Paradise) which placed the band onto most of the covers of the European rock press. From now on, Front 242 is a fact.
Front 242’s vision continued toward fuller maturity.
The world drastically changed since 1991’s “Tyranny For You“ album, and the members of the group moved with it. The two albums, “ 06:21:03:11 Up Evil “ and “05:22:09:12 OFF “ broke through the classical Front 242 formula to bring in new vocalists, live guitars and drums.
Redistributing roles and rules within the group, allowing other facets of the band’s personality to shine through. Andy Wallace (Nirvana, Sonic Youth) was called in to mix the album in Front’s studio.
Exercising his talents within an electronic environment, bringing an abrasive, edgy, and seductive album to full potential. Released in 1993, the project showed the scope of radical invention and attitude, that goes hand in hand with Front 242’s music.
Taking a two year sabbatical didn’t stop Front from moving. It enabled them to realize two attractive CD’s: “Live Code”, recorded during their last world tour, brings to the forefront the power of the group’s live performance and sound. The compilation-album “Mut@ge-Mix@ge” proposes The Prodigy, The Orb, Underworld, Rico Conning, and Front 242 all on the same record.
More than a “remix” album, all the tracks, enriched by the innovative mixes of the other artists involved, and each dealing with different levels of technology, have been reedited in a specific order by Front 242 to provide a successful continuity of enveloping atmospheres and rhythms.
In 1997-98, the band has decided to undertake a World Tour to underline their last releases. Playing “live” has always been a good way for them to check out excitement and creativity. In that matter, the “live” music on their CD release “Re-Boot” includes new sounds and structures in order to present updated versions of older compositions.
After a long absence, Front 242 released the EP « Still & Raw » and the Album «Pulse» in 2003.
Based on an aesthetic from the 70’s and 80’s, when the roots of todays electronic music were influenced by German bands , Front 242 re-invents the original sound that was at the center of their art and enriched by 20 years of experience.
Analogue technologies and vintage machines pulsing into deconstructed tracks where emotion and research leads to a purely electronic attitude. Front 242, an unpredictable band, surprises the old and new audiences - while continuing to make the link with today’s music... with no concessions to their integrity.
Panda Steps in Chocolate
In the midst of all the glory of modern day musicians i have found myself trying to plug away at the midi coated heart strings of the little people.
I am Christian Michael Filardo panda was originally manifested after my girlfriend dumped me, then my father started working away from home a lot, and now it is for all of you who can't say the things they want to say.
Rope light is a necessity not a convenience here and i would love to play any show, anytime, for any select group of people. Hopefully you will all spark up some really fucking cool conversations here. Lets chit and chat.......
The Gun Club
The Gun Club were a rock band from Los Angeles in the 1980s and 90s, led by the flamboyant singer, ex-rock critic and Blondie fan Jeffrey Lee Pierce. They were one of the first bands to blend punk with blues, country, and other American roots musics.
The band was formed by Pierce and Kid Congo Powers and initially called the Creeping Ritual. They went through several lineup changes before settling on "The Gun Club," a name suggested by Circle Jerks singer Keith Morris.
Kid Congo left before the first album to join The Cramps but would return for Las Vegas Story, and he was replaced by Ward Dotson. Other notable members include bassist Rob Ritter and drummer Terry Graham, who had both previously been in The Bags. Rob left after the debut album to form 45 Grave, and changed his name to Rob Graves. Later, Patricia Morrison, then known as Pat Bag, one of the founders of The Bags, joined to play bass on two LPs Danse Kalinda Boom and Las Vegas Story before leaving to join The Sisters of Mercy and then The Damned.
Their first album, 1981's Fire of Love, is regarded as a classic by many rock critics. One critic has written that the "album's lyrical imagery is plundered from voodoo, '50's EC comics and the blues," 1 while another notes that "Nobody has heard music like this before or since."[1] Fire of Love sold well and arguably received the best reviews of any release from the band.
Along with The Cramps, X, Blasters and other bands, they set much of the tone for the Hollywood rock scene in the 1980s. Now based in Europe, Gun Club returned again in 1987 with the brilliant album Mother Juno, produced by Cocteau Twins' Robin Guthrie and featuring Kid Congo again, along with Romi Mori and Nick Sanderson.
In 1992, Pierce returned to his musical roots by recording an album of mostly pre-war blues songs with the British blues Guitarist Cypress Grove.
Pierce continued leading various incarnations of the Gun Club up until his untimely death in 1996, culminating in the acclaimed last album, Lucky Jim.
The Gun Club helped influence the so-called cowpunk or punk blues scene that developed in their wake and a wide variety of bands ranging from Social Distortion in the 1980s to The White Stripes, 16 Horsepower, The Starvations and the Starlite Desperation today.
Foot Village
Our national language is drumming.
Our national pass-time is screaming.
FOOT VILLAGE WEBSTORE - vinyl, cd, tshirts, more
"Of all the weird scum-hunch folk ensembles I've heard over the last few years, Foot Village may be the most chaotic. Created and staffed by members of some LA underground heavies, this is a rather masterful effort, even when things are a little more controlled." - WIRE
"their sound is engaging, lively, and confrontational, reflecting a negotiation with culture, not a retreat. This ain’t music to hum to; this is music to purge to." - Tiny Mix Tapes
Featuring members of of Gang Wizard (Load/Ecstatic Peace), Friends Forever (Load), and the infamous International Voice of Reason, Foot Village is the first nation built after the apocalypse. Casting off their past accomplishments as mere musicians, the citizens of Foot Village now have a duty to rebuild the world, a new nation atop the ruins of Hell, after the oceans have all evaporated.
In the absence of electricity they are erecting civilization with drums and voices alone! This is pure hardcore though. No jamming. No drum circles. So leave your bongos at home you hippy!
All we know so far is revealed on their first album 'World Fantasy' (Not Not Fun) a collection of songs about other countries. Now Foot Village have created their own country and the songs on 'Friendship Nation' (Recorded by Jonathan Snipes of Captain Ahab & mastered by Pete Swanson of Yellow Swans) are reports on what life in Foot Village is like.
This album features four incredible, additional remixes by fellow cosmologists: Tussle, BIG A little a, Silver Daggers, & Robedoor.
Pitchfork Media are currently raving about Foot Village on 'Forkcast' with an exclusive feature and mp3 download of 'Protective Nourishment' a track taken from 'Friendship Nation'. Foot Village played SXSW at the 'Deathbomb Arc / Cock Rock Disco / Load' showcase in March 08 (alongside Sightings, White Mice, Shit & Shine, Kevin Shields, Jason Forrest & more) and toured the US, EU, & UK in 2008. They performed as members of the Boredoms at Los Angeles' Boadrum 88 event.
Foot Village have been featured on split releases with BIG A little a, Sword Heaven and Black Pus and appear in Sean Carnage's forthcoming movie alongside HEALTH & Juiceboxxx. Brian Miller also runs Deathbomb Arc label and helps run The Smell in Los Angeles.
Foot Village have played with Dan Deacon, BIG A little a, Tussle, XBXRX, KIT, PRE, Mae Shi, Captain Ahab, HEALTH, Abe Vigoda and have even performed at LA's Natural History Museum! Their most recent single is out now on Too Pure. Foot Village is a nation unlike any other and only by visiting can you really know.
"FV's raging (but arranged) drums manage to sound, all at once, like the thrashed, percussive guitars of hardcore punk, a couple of Rolls-Royce jet engines and the war drums of an easily irritated tribe." - TIME OUT LONDON
"percussion, played as if teasing a knot of wool into freedom; a combination of rhythmic histrionics and cataracts of chafing abandon. Yes, I have a feeling this "Foot Village" is going to be huge. 10/10 " Andrew Zukerman - FOXY DIGITALIS
"Hair-raisingly direct, with drums of absolute death, Foot Village are instantly mesmerizing. 8/10" - ROCK SOUND
"anarchic percussive throwdown for the cosmic disco of the mind." - MOJO
"primitive beyond repair." - PLAN B
"tribal percussion smackdowns, jungle growls, and cuckoo-house ululations" - PITCHFORK
"While it’s true, the band’s peers such as No Age and Health have brought attention to the Los Angeles scene, groups like Foot Village maintain it." - CMJ
"bombastic euphoria... pure drum-and-scream, a high-speed theme for a city of grown-up kids." - PAPER THIN WALLS
"a barrage of drums that crack the shield of our inhibitions" - 20JAZZFUNKGREATS
Some Bizzare [record label]
History of the Future...
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A real suprise from Some Bizzare Records. Although this came out in the summer, it's not too late to pick up a copy of the new Lucid Sketchmaster and be blown away by a combination of beats, rap, hip hop, noise, and industrial that blends together for one of the coolest new sounds we've heard in ages!
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