BEWARE! Only the brave and strong of attention span will ever finish reading this bio!

I'm basically a mad scientist who, starting at the age of twelve or so, tried to apply a scientific epistemology to religion.
Eventually that lead me to a new goal of teaching philosophy.  I often waste precious time, writing music, researching the history of music, and trying to improve my humble recording setup.  That’s why I’m here. 
I'm obsessed with Industrial, along with early jazz and blues music.

I often imagine myself as a jazz musician who is trapped in a gothic-industrial universe.  The world is a harsh place made of concrete and grinding gears that force us to resist our sentiments and become part of the mindless assembly line.  The gods are toothless giants that enjoy pinching all natural men and women between their swollen and infected gums.  I’m a sentimental, and inexplicably hopeful, guitar player, who wishes he could sing, cutting through the soot filled air with melodies of humanity.
 That description sounds idiotic and pretentious.  If someone else described their music in that way, I might hit him or her in the face.  I’ve done it to myself before, and I seem to be earning it for speaking this way.
But I keep developing my music, as if it will one day be an honor to that description.
Consider for a moment that famous recording of Louis Armstrong singing "What a wonderful World." 
He grew up in a part of New Orleans that was so violent it was known as “the Battlefield.”  He began playing on the cornet. The popularity of the trumpet and cornet in the development of jazz was caused by the over abundance of those instruments left behind from the Civil War. 
The backdrop of his career is the inhumane treatment of his parents under slavery in the U.S. and his own struggles having been born in the aftermath.  The artifacts of war and rang through the air. Jazz musicians picked up the pieces and did the best they could with them. 
Armstrong's raspy almost monster-like voice, belts out "And I said to myself. What a wonderful world!" 
It was defiant and it was beautiful! 
That is my rationalization for the claim that there is an unexplored connection between Jazz and Industrial Music.   But I might just imagine that connection, because I’m a tool bag that should be punched in the mouth.

I think Industrial is about finding beauty in the horror, and I think Jazz and blues were about beauty from the horror as well. 

Some industrial musicians grew up looking at the Berlin wall and knowing they had family that love and cared for them trapped on the other side. They had to resist that love and give into the circumstance that forced them to resist those sentiments.  The machine would force them to be something other than what their natural sentiments would have made them.
 
Sometimes I imagine my music growing in the direction of an extremely disturbing musical that takes place in a dystopian New Orleans, or Chicago, or some other city associated with the history of Jazz. 

Again, that sounds silly and pretentious, so I'm tempted to punch myself in the face.

Then the plot of the musical involves a musician who gains a religious like following.  The dominant religion at the time opposes moral sentiments such as "compassion" other than in situations where acting on compassion involves a gruesome twist. 
So, even when I write music, I fail to escape my urge to write about philosophy. 
So again, I probably should punch myself in the face. 

I don't feel my music can be performed correctly without a live band.  But until I learned how to write in notation well enough or finish meticulously recording each individual track, I'm not sure how to describe it to other musicians. 

To get down to it, if you are like me, and have a project that you should probably get punched in the face for, maybe we can exchange time and help each other working on our projects.
(I will not be accepting punches in the face at this time.)

Currently, I've been working with <A href= "http://soundcloud.com/daring-danielle"> Daring Danielle, </a> on her Industrial Cello project.
But she does not deserve a punch in the face.
 Unlike me, she is a nice person.
She also has natural talent that emphasizes my deep inferiority. 

P.S.  Before I would be willing to meet with anyone for collaboration I must first confirm that neither you will kill me, nor I will kill you.

A protean collective that manifests sustained, layered, gradually evolving, timeless sound

A new era. 12.3.21. beatsantique.com

BEATS ANTIQUE, an oakland based group featuring ZOE JAKES, DAVID SATORI, AND SIDECAR TOMMY, which has stumbled down the rabbit hole and emerged anew on the other side. BEATS ANTIQUE forges a curious alliance between middle eastern traditions and potent west coast circus, underground hip hop, breakbeat brass band, downtempo, glitch and dubstep.

Booking ROW: mrunner@teamwass.com pmaloney@teamwass.com
Booking Canada: grant@midnightagency.com
Management: max@vitalicnoise.com

Hello there!

I am Daring Danielle!  I have a solid foundation in studio art and education! Music and storytelling are other loves of mine. I like to sample sounds, play the cello and keyboard, among other random instruments, and mix everything together in a  musical blender.

My sound cloud account will mainly be experiments from my own project, "The Industrial Cello", or a soundtrack that's supposed to go along with a sci/fi/fantasy book project, "The War of the Magicians".

Daring Danielle is following