androgyny † haute goth † tarot † the occult † witch house † drag † doom pop † corsets † tumblr † art † extremes † blood milk jewelry † transgressive writing † queer † subcultures † vampires that don't "sparkle" † goth fashion that doesn't acknowledge monster boots † hautemacabre.com † 'zines † diamanda galas † poppy z. brite † clint catalyst † michelle tea † florian pessenteiner † zoetica ebb † biorequiem.com † dodie bellamy † mick mercer † permission magazine † bloodisthenewblack.com † floria sigismondi † coil † c93 † (old) danielle dax † § † salem † mater suspiria vision † gabriel grovnik † calla donofrio † the incroyables † rakes † dark dandies † dennis cooper † dirty-flaws.com † commes des garçons † scott treleaven † charles gatewood † gifmovie.tumblr.com † jeanette winterson † jun takahashi † goya † c carr † performance art † butoh † marina abramovic † elizabeth mcgrath † allen ginsberg † ghastly magazine † drugs † de quincey † dead can dance † danielle willis † dazed & confused † demonbabies.com † severed heads † sylvia plath † joshua petker † lynn breedlove † cocteau twins † jean cocteau † clintcatalyst.com † robert disaro † dorothy allison † eyedoublecross † patricia morrison † boy london † agyness deyn † alexander mcqueen † ghostroom.net † ceremonial dagger † house of harlot † skin two † marquis † secret † dita von teese † twin peaks † the hunger † unnatural hair color † karen finley † comtesse di castiglione † darlateagarden.com † crossover † animated gifs † glitch † glitches † data-bending † digital art † glitchgifs.tumblr.com † gareth pugh † portion control † ron athey † stallio † oOoOO † mother of london † lydia lunch † laziness † love † lurking † making lists † imgfave † weheartit † consuming visuals † creating alternate realities

BLIP - 
was brought about by Cowie's subterranean interest to make a full vocal album and Skotarczyk's need to make an original album similar to Kings Of Convenience - DJ Kicks. Cowie, having always been drawn to less obvious hit records like Human Leagues  - The Lebanon or Killing Joke - Love Like Blood, saw this potential in Rai, who's natural style is a less obvious degree of indie pop. The entire process required both Cowie and Rai to completely destroy habitual approaches to music. Breaking the mould and rebuilding from scratch brought some uncomfortable moments and much personal reflection. But determination prevailed and eventually they let the songs speak for themselves. By listening to the muses, the art then dictated the artists and BLIP took on a personality all it's own.

Rather than strive for hits, they focused on the subtleties of what makes an album great. Because of this, there is much to peel back for the listener. While BLIP does have the traditional structure of a synth pop album and hints at an 80's influence, it is far from typical. It's message, though deliberate, is open to interpretation and will lead the listener to the cutting-edge of musical exploration. Expect the unexpected with a range of sounds from house, techno and straight electronic as your guide.



COWIE BIO:
Chris Cowie has been a producer and DJ for twenty plus years. As one of the most licensed producers in the industry, the Aberdeen, Scotland native has close to 200 releases, appeared on over 400 compilations, and has performed around the globe from Russia, to China, to Australia, and the US.
With such a notorious career built on credentials that read more like an almanac, chances are you’ve probably danced to his tunes, Yet Cowie still remains one of the major unsung heros of electronic music.

 In 1992, Cowie launched Hook Recordings and Bellboy Records. At only 22 years of age, the fledgling Producer/DJ's releases quickly monopolized the underground club scene. His labels gave him the leverage he needed to brand his own blend of music; an eclectic blend of indie electronic, techno, Tec House and progressive house; giving the UK two of the most groundbreaking and influential dance labels and artists of the 90’s.

 Cowie found early support in legendary BBC radio 1 DJ, John Peel and his productions were celebrated by countless DJ’s.  Paul Oakenfold,  Laurent Garnier, Carl Cox, Sasha, Digweed, Judge jules were just a few names dropping Cowie tracks into their mix. Danny Tenaglia called Cowie's album, Best Behavior, "Pure genius" and Carl Cox referred to him as, “The master of funk techno.” High compliments for a man who kept most of his massive career a secret, but maybe more surprising was the fact that he managed to accomplish all this on his own, well, sort of.

Like an ode to the liberation of excessive creative energies, Cowie not only produced under his official moniker, but spawned a legion of aliases (15 in total) that provided him the flexibility to produce a wider range of electronic music. Vegas Soul, X-Cabs, Scan Carriers, Bulkhead and Landlord (to name a few) generated equal amounts of success in their own rights. Because of this, around seventy five percent of Hook and Bellboy releases were a Chris Cowie production.

 During his career, Cowie was nominated for the highly prized BBC 'Radio One Essential Mix' beaten to the title by the tag team of Sasha and Digweed.  His break-out album, Best Behaviour, was voted fifth best album of the year in the UK and placed alongside the likes of the Chemical Brothers and Daft Punk. The album 'Pure' saw another chart topping release. His most notable singles, "Neuro" and "Infectious" were timeless additions to the X-Cabs alias. While his Vegas Soul alias became a DJ favorite after the successful release of Best Behaviour. 

Cowies numerous remixes knew no boundaries ranging from 808 State's Invader to Desyfer's Help Me,  kept him in the charts, but Cowie's most successful remix was ATB's "Don't Stop," which reached all the way to Number 3 in the UK. Growing up,  he always knew his music would be on the BBC's national chart show, Top OF The Pops. However, he never anticipated it would be in the form of a remix, and one which he doesn't think is one of his better efforts. The epitome of anti-climax.  Cowie's achievements, though grand, couldn't save him from his own profession. The music industry was shifting, and with more attention in digital releases, his labels took a hit. Around 2005, Hook and Bellboy left this mortal coil and ascended to where all good labels go, and there it stands tall for its outstanding contribution to the EDM scene.

Though a relaunch in 2008 peaked interests again, Cowie decided to wrap up a memorable fifteen-year reign and sold the infamous labels in 2012 stating the labels legacy "haunts me wherever I go. Every musical avenue I wish to explore is clouded by the labels shadow. That had to to stop". In 2010, Cowie teamed up with Detroit vocalist, Rachel Skotarczyk (a.k.a Rai) to create an eclectic, indie electro album. The first release, a Cosmonaut Grechko remix of "Love Trak," has already topped charts throughout the blogoshpere and received well over 5,000 listens the first hour of it's release. BLIP is due out in 2013.



RAI BIO:
Singer/songwriter Rai, a.k.a Rachel Skotarczyk, didn't grow up to a musical family. She had no guidelines on how to succeed. Her tale is more an arduous journey of mishaps, chance meetings and hard knocks. But it was precisely these trials and tribulations that led her to create 100's of honest, happy and sometimes sad songs.
Growing up in the suburbs of Detroit. In her early teens, she found an affinity with music and creative writing. Thinking that music was a clever medium to promote her writing, Rai acquired a guitar. Without any formal training, at 17 she wrote and recorded her first album of acoustic pop songs.
Rather quickly, those songs snagged the attention of Capitol Records. In 2004 Rai was flown to LA to record a demo. It was her first big studio experience. The demo, though professionally nurtured, could not make up for her lack of performance experience and Capitol passed on the deal.

Undeterred, Rai moved to Seattle, WA to sing lead for an indie grunge band. A year later she moved to L.A. and started another, more electronic, project that made some progress. Though her performing got better, she still was unsatisfied with the sound. Rai constantly sought to bridge her two favorite genres, pop and electronic. The opportunity came when Scottish techno producer, Chris Cowie, invited her to the UK for a unique electro/techno project. In 6 months, they had created an album that blended tec house and electro pop.

In 2009, Rai returned to Detroit only to get signed by a small hip hop label (Frontstreet Records) and began exploring a more R'n'B sound. Her single "New New" created some waves and she was invited to Atlantic Records. Again things just weren't clicking and though there was other label interest at the time, 2011 left her at an impass with her label. She stepped away from outside influence to write and produce her album, Self Portrait.
Skotarczyk now collaborates with international DJ's/producers, lending her vocals to projects she believes in. She's a practicing a writer, and hunts for the most exciting house, electronic, and nu disco artists for the nationally and internationally acclaimed blog, Indie Shuffle.
She's worked with Capitol Records, Off Recordings, Hot Creations, Frontstreet Records, and HookBellboy Records, (both directly or indirectly) and  has lent songs to Coach, The new 90210, Pepsi, and Cosmo Magazine.

Currently her abilities are hyper-focused on vocal and topline work, but she still produces her own material from time to time.
Skotarczyk's goal is to have a radio show for great electronic music, compose at LEAST 3 hit songs, and write a New York Times best seller. Cake.

 





Check out the Chill/Ambient set first! That's my main focus. And I love to experiment with all kinds of sounds as you can hear in the other sets.

My favorite musicians include: Iam Somnus, Sonmi Suite, Aaaaaa, Amon Tobin, Aphex Twin, Autechre, Baird Hersey & Prana, Battles, Adrien Beleu, Benevento-Russo-Gordon, Big Bud, The Black Dog, Bluetech, Boards of Canada, Bon Iver, the Books, Brian Eno, BT, Caribou, Chekov, Chemical Brothers, Chris Clark, Coil, Critters Buggin', Crystal Castles, Cujo (a.k.a. Amon Tobin), David Sylvian & Robert Fripp, Edits, Enthoegenic, Efterklang, Einsturzende Neubauten, Exile, Foetus, Fourtet, Funki Porcini, Haujobb, Infected Mushrooms, Jon Hopkins, Isotope 217, Juno Reactor, King Crimson, Logic Bomb, Loop Guru, Keston and Westdal, Matmos, Moire, Mum, Numaro, Ozric Tentacles, Pitch Black, Pnuma, Sasha, Secret Chiefs 3, Sigur Ros, Squarepusher, Sasha, Square Pusher, STS-9, Tipper, Thighpaulsandra, Tycho, Talkdemonic, Wumpscut, Younger Brother and Underworld to name a few.	

ONCE ABOUT A TIME . . . ...
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†нere is no need to be thankful, because here is no need to play one of these songs again.
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001. Achillea - Odins Hill
002. Adam Lambert - Mad World (Studio)
003. After All (Green Fact Club Mix)
004. Annie Lennox - A Thousand Beautiful Things (Mix)
005. Art of Trance feat. Michele Adamson - Love Washes Over (Pherik Mix)
006. Artemis - Beside U
007. Artemis - Fountain Of Life
008. Artemis - Hypno
009. Artemis - Subterranean
010. Artemis - Sync Or Swim
011. Astrud Gilberto - Who Needs Forever (Thievery Corporation Remix)
012. Avalost (vocal version) by Seabound
013. Balligomingo - Falling
014. Balligomingo - Heat
015. Balligomingo - Lost
016. Balligomingo - Lust
017. Balligomingo - Marooned
018. Balligomingo - Monsoon
019. Balligomingo - Privilege
020. Balligomingo - Sweet Allure
021. Balligomingo - Wild Butterfly
022. Baxter - Oh My Love
023. Benassi Bros - Feel Alive
024. Bjork - Big Time Sensuality
025. Blank & Jones - Perfect Silence
026. Blue Man Group & Venus Hum - I Feel Love
027. Blue Stone - Only One
028. Carmen Rizzo featuring Jem - Easy Way Out
029. Celeste - Porcelain White Desert
030. Collide - Razor Sharp
031. Come Into My World (Fischerspooner Remix)
032. Conjure One - Center Of The Sun (Solarstone's Chilled Out Remix)
033. Conjure One - Endless Dream
034. Conjure One - Redemption (Max Graham's Dead Sea Mix)
035. Conjure One ft. Sined O' Connor - Tears From The Moon (C.Rizzo Stateside West Chillout Mix)
036. Coward by Seabound
037. Daughter Darling - Broken Bridge
038. Daughter Darling - Colorblind (Counting Crows Cover Remix)
039. Daughter Darling - Sweet Shadows
040. Dave Gahan - Endless
041. David Morales With Lea Lorien - How Would U Feel (Philippe B Remix)
042. De Vision - Dress Me When I Bleed (Bloodless Mix)
043. Deepest Blue - Deepest Blue (Jon Hopkins Mix)
044. Deepest Blue - Shooting Star
045. Delerium - After All (Chances End Remix)
046. Delerium - Euphoria
047. Delerium - Underwater (MaUVe's Dark Vocal Mix)
048. Depeche Mode - Come Back
049. Depeche Mode - Little 15 (Ulrich Schnauss Remix)
050. Depeche Mode - Wrong
051. Desire Of Ages (F. Harland) by Sleepthief
052. Destiny Trip - Falling You
053. Devision - I'm Not Enough
054. Devision - The End
055. Devision - The Shining (DJ Tiesto Mix)
056. Devision - Try To Forget (Remix)
057. Devision - Turn Me On (Wave In Head Mix)
058. Devision - You Say
059. Diary Of Dreams - Now This Is Human (darkwave gorhic rock industrial)
060. Die Form - Insane
061. DJ Diganta - Sense Of Silence - Addicted
062. DJ Logic - Spider Dance
063. DJ Sharaz - Until Forever Fades Away
064. DJ Tiesto feat. Jes - Everything
065. DJ Tiesto feat. Kirsty Hawshaw - Walking On Clouds
066. Domination by Seabound
067. Doubleplusungood by Seabound
068. DT8 Project Feat. Andrea Britton - Winter (Max Graham Sidechain Mix)
069. Duderstadt feat Anita Kelsay - Smile
070. Eden Project feat. Tiff Lacey - Open Your Mind (Vocal Mix)
071. Evanescence - Good Enough
072. Exorcize by Seabound
073. Facebreaker - Demon
074. Faithless - Addictive
075. Ferry Corsten - Holding On (Above & Beyond Remix)
076. Filo & Peri vs. Mike Foyle - Luana (Signalrunners Remix)
077. Fiona Apple - If We Kissed
078. Flunk - Miss World
079. For My Pain... - Bed Of Dead Leaves
080. For My Pain... - Dancer In The Dark
081. For My Pain... - Sea Of Emotions
082. Free Me - Trance Vision
083. Giant Leap - The Way You Dream
084. Goldfrapp - Number 1
085. Goldfrapp - Time Out From The World
086. Goldfrapp - Twist
087. Hidden Logic presents Luminary - Wasting (Ronski Speed remix)
088. Hourglass - Saw Something
089. Hungry Lucy - Bound In Blood
090. Hungry Lucy - Grave (Digger Mix by Heavy Water Factory)
091. Hungry Lucy - In The Circle
092. Hungry Lucy - Into Pieces
093. Hybrid - Dreaming Your Dreams
094. I Want You by Various Artist
095. If Only Tonight We Could Sleep
096. Ikarus - Ancient Lullaby
097. Ikarus - Shine On
098. Ikarus - Touched The Sun
099. Indian Vibes - Mathar (R. Fearless)
100. Jason Down - Cherokee (John Creamer & Stephane K Mix)
101. Jewel - Intuition (Gabriel & Dresden Hi-Tek Digital Mix)
102. Kai Tracid - Ready To Flow (Schiller Mix)
103. Kai Tracid - Trance And Acid (Spec Drum)
104. Kaskade - Be Still
105. Kaskade - Maybe
106. Kaskade - Stars Align
107. Katatonia - Help Me
108. Kikiwest - Creeper
109. Kirsty Hawshaw - Reach For Me (Solasso Remix)
110. Kirsty Hawshaw & Tenisha] Outsiders (Jose Amnesia Remix)
111. Lacuna Coil - Enjoy The Silence
112. Lauren Christy - Walk This Earth Alone
113. Layer Cake Soundtrack - FC Kahuna - Hayling
114. Leftfield - Open Up (Chemical Brothers Remix)
115. Leftfield - Renegade Soundwave (Remix)
115. Low - Half Light
116. Luminary - Amsterdam
117. Luminary - Wasting (Andy Moor Club Remix)
118. Lunascape - Mindstalking (Dave Aude Extended Vocal Mix)
119. Mads Arp feat. Julie Harrington - Slow It Down (Mathilda Mix)
120. Markus Schulz - Sanctuary
121. Massive Attack - Antistar
122. Massive Attack - Inertia Creeps
123. Midnight Syndicate - Dusk
124. Mindcircus (Club Mix) featuring Way Out West
125. Moby - World in my Eyes (Depeche Mode-Cover)
126. Morcheeba - Big Calm - The Sea
127. Mute Math - You Are Mine
128. Mystic Sun - Somasundara (Subspace 2.0 Mix)
129. Narcotic Thrust - Waiting For You (Vocal Mix)
130. Narcotic Thrust - When The Dawn Breaks (Cicada rmx)
131. Natalie Walker - Circles
132. Oceanlab - Beautiful Together (Signum remix)
133. Oceanlab - Clear Blue Water (Ferry Corsten Remix)
134. Paul Oakenfold feat. Emiliana Torrini - Hold Your Hand
135. Pink Floyd & The Orb - Time (Trance Remix)
136. PM Dawn - I'd Die Without You
137. Poisonous Friend by Seabound
138. Portishead - Sour Times
139. Prayers For Rain
140. Rome On Fire by Seabound
141. Royksopp - Remind Me (James Zabiela Eighties Ingeborg Mix)
142. Salt Tank - Angels Landing (Jose Padilla & Sunchild Remix)
143. Sapphire by Seabound
144. Seabound - Contact
145. Seabound - Point Break
146. Seabound - Scorch the Ground
147. Seabound - Smoke
148. Seabound - Soul Diver
149. Seabound - The Promise
150. Seabound - Tom (Convenant Remix)
151. Seabound - Watching Over You
152. Seabound - Watching Over You (Haujobb Remix)
153. Seabound-doubble-crosser-Castaway
154. Second Sun - The Spell
155. Separation by Seabound
156. Single Gun Theory - Fall
157. Skull Valley - Secret
158. Sleepthief - Eurydice
159. Smile Empty Soul - For You
160. Soma Sonic - Crazy Moon
161. Sonic Adventure Project - Inner Journey (Remix)
162. Sonic Youth - Reena
163. Strings - Into The Night (Gabriel And Dresden 4 Deep Mix)
164. Sunscreem - No Angel (Original Extended Mix)
165. Sunscreem - Perfect Motion (Leftfield Vocal Mix)
166. Supreme Beings Of Leisure - Last Girl On Earth
167. Tapping The Vain - The Damage
168. Tatu - All The Things You Said
169. Tenuous (F. Jody Quine)
170. The Cranes - Adoration
171. The Cranes - Beautiful Sadness
172. The Cranes - In The Night
173. The Cranes - Tomorrow's Tears
174. The Cure - A Forest
175. The Cure - Lullaby
176. The Cure - Pictures of You
177. The Knife - Silent Shout
178. The Prodigy - Wake The Fuck Up
179. Therion - Birth OF Venus Illegitima
180. Tom Cloud feat. Tiff Lacey - Secretly (Original Mix)
181. Trespassers William - Different Stars
182. Trespassers William - Love Is Blindness
183. Torch by Seabound
184. Trespassers William - Vapour Trail
185. Twelve [Sousk Mix]
186. Type O Negative - Wolf Moon

187. Ulrich Schnauss - On My Own

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P.S.and ? †here is also no need to be surprised:but! here is no need to miss †his list 0f***
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My personal favorite Quote'z... What makes you think i care about: H i stuff o-o l ?²°¹³ツ~I~thiink~*~

More about: Me and my little:Puzzycat´scott's lil Borderlinesyndrome, M e o w´s & Muffin´s o-o n ;)

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About: multiple:personally but! foolish, narcissistic´schizotypal'spells / Trio de la Splitpersonalitea
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Coming well & i'll wellcum All Of U! (: may:bee :) you? T o-o !.. 'cause I can ad: a l I.Stay´s-c o-o l

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S...
...O
O...
...N
E...
...R

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I'll be better like a BeeFee on a Overdose BiiFii'so faster as a Speedfaery* MEAN´Sooner A.S.Sooner¹
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I'ma outrageous, moistlii +Highlii-recommended: is ma list :by ah'em, verii "own taste" 0f 3:)~

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3:) Devil Driver - Bring The Fight (( to the floor ))

2.) Sigue Sigue Sputnik - Outrageous ; )³

1.) Placebo - Every You Every Me 3:33:) but! #11 ah'em saw & found: it'sometimes &'somewhere (:

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Tobii continued: as well assoh but! bii4 do I've a short miiting with ma'self :biicause Ivy 'never' lies ;)
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I'ma do riiturn after my moistlii, sexii IQ & Kiwii-dinner with ma:best:bii-cell-mates Ivy & :crashii :]

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I'ma falling deeper & deeper or with other kiwiiliishhh ;prettyii words...

I'ma follow ma IQ and: so let'sinking like the very last B-cell of a h´e ma'self³

I'ma drowning and: ma soul* is dropping but! s h y´s shiniing to² the :ping to-o tut...tut...tut

I'ma doing it! to the latinoh Groovii Beat's of ma´speciallii Sunshine´smiliies #3:)~ collective's lols ; )

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P.S. . .
Sooner³ Than Just! almost easii sooner² ; )

Ich würd meinen Arsch drauf verwetten, niemals in 6+leben...

da könntest Du mich auch nur im geringsten Ansatz verletzen,
denn! you're born to bee an oxyfool creme de la creme defuckuckin´lux3:)

du warst nicht mal 999.999 smellii cheesechip's am Stck? gut genug für mich! foolfuck³
denn darum musste ich deinen Supee IQ-Q³ durch 3:) teilen und! in drei Anteile zerstückeln.
Dich kann und! wollte Man[n] nur wie 'ne billige Bahnhof`s Nutte bezahlen und: darum 3:)~ x ~ 333.333:)

do me an dreifach favor, means "tu mir 'nen tripple-dreifach-tree Trio" foolfake yourself mal 3:) 
du bist untere Schublade und echt 'nen jämmerlicher Haufen Unkraut im Garten aus Alltag`scheisse

Lecko mio u siickii Bi-Fee, denn I.bin mind. 1OO&Ix´schlauer, as ur hiiest wellcum:Dummbrot

Nun, viil Glück +Xtrem-loling in ur lost:paradise:crashed:star's & good:lack, destroi:ping l.aura ;)

ach ja und: all what it!? was, letz call it! the past, was my lil warm U:P& ii call it! simpel darkasm, with a lil Note of´Sarcasm but! touched: with an baybee'struggle of softporn & from 2.morrow on...

HE'LL return to an much better place, without any fuckin`rule´so letz:call it! the begin 0f* :bee:p

PS3:) sei froh, dass ich nicht mein Lieblings:bild: an die Wand: klatschte, Dich und: die Opa'haha`s

inkl. deiner Jungfrucht & Faulheit! zellu lit äh ; ) mann oh mann, mich kriegst Du nie, U :peekwii ; )

PS4? is comming soon in a different color and! in case of silly thoughtz like PS5? just callii sony or so

soonii likes sonii but! i like it! barsch & harsch aber sowas von frontal in deinen brain:crasharsch ;)

0h and: don't forget "The ** Shapes of Grey" biicause u know? u liked: it! diebischer Elsterhals ;)

U? liked: it! too my lit! :crashed:Med:elster => The next upcomming -I7- means it! is Ur's ;)~²~

Did: U  really never, ever saw ur foolish:cybername with different & wiise y e s ?´cause it's the...

N.de of your own fakeful Lack of what in 666 years or wellii even in siix: more, biicause at the n d;

will u get,wet what u deserve's... and! mostlii needs? and: it! is a:beauteafool-lolifetime full / !Med: )

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Last words here? Wiillii:bee A "Hai" over there ;be´cause, don't like Rules, so, By ;biifoolfiickii³³ ;)
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P.S.info´s @marshttps://extensionmusic.11spot.com/melpo-mene-behind-the-trees.html 0F 3'5

Elk Records never really was a company per se, just a backlog of garage grade recordings done with a mic we dubbed the tesla coil. Those that were in on it gathered that a name is worth a lot more than the music, or at least an untitled song on a blank cassette, it gives it its place in time. Well, most of them got disillusioned with pseudonyms, Adel Schure, Sil Pans, Kleod, Filke, Yafferty, all gibberish names that sound like they belong to a place in time, when really they don't get you anywhere except a hole of local obscurity and scrutiny for howling at the rafters as the neighbours chinese whisper along to the rest of the town that we're all squealing like cats at midnight around a dimly lit blue ford cadillac. Only part true really, that jazzmaster did meow when you plucked it just right, but that cadillac bounced blue strings of light onto our recording sessions which, coincidentally, tricked tommy into thinking he had synesthesia. Theres an old session where (and it was trimmed, Im afraid, damp reels don't survive well) he turned to, I think Solomon and just said "Everythings Blue". I wonder if you can hear it in the playing, I guess you've got to listen out for that particularly blue one. Anyway, minus the rambling, for those that are interested, this crap stack of audio has managed to burrow its way back into my life, and through various mis-promises that have tied me to its keeping, i have become the gatekeeper to Lousiana's worst best kept secret. And its out of sheer confidence I can say it'll happily but most importantly, thanks to the wonder of electric clouds and the like, securely remain this way till the end of time.

D-K-A-G 

Emmerick Gortz [Dj Chemical 6 - Slimelight] 
Steve Weeks [DJ Steve - Slimelight /ex RBN UK]
Steve Wilkins [DJ Steve Nine -Antichrist / live member of Alien Vampires]

Influenced by ebm, electro, hard tech, hard trance & noise, they've been crafting their sounds to give you a combination of powerful beats, aggressive bass, dark intense soundscapes and adrenaline pumping energy aimed directly at the dancefloor. 

With this underground sound, they've quickly built up a steady following and have already been main support band to some of the heavy weights in the Industrial/ebm scene. Notably - Suicide Commando, Combichrist, Apoptygma Berzerk, Icon of Coil, Velvet Acid Christ & Shiv-r. 

This saw the rise of some great remixes for Alien Vampires, Dirty K and the up and coming Covenant rework which is currently in progress.

Now, at their secret K-Lab location in London, they've been working damn hard to get their sounds out to YOU! The highly anticipated album Long Wave Theory will be released soon! These snippets are not mastered yet, but will certainly give you a glimpse into their world.

The future certainly looks bright for this up and coming band. Listen, comment & like!

Positive energy + pounding sounds = D-K-A-G


Fringe Biology Recordings is a Seattle-based record label of outsider musicians specializing in experimental rock, avant electronic music, sci-fi soundtracks, krautrock, and science music (direct application of scientific concepts into music creation). Subcategories include space rock, post punk, jazz, avant rock, early industrial, black and avant-garde metal, progressive rock, psychedelic, cut-ups, soundscapes, pop, and dub. The music is inspired by diverse and esoteric topics such as ancient technology, wave genetics, synthetic and evolutionary biology, urban decay, space travel, science run amok, the films of David Cronenberg, Alejandro Jodorowsky, David Lynch, Fritz Lang, and the literature of William S. Burroughs, J.G. Ballard, Philip K. Dick, Brion Gysin, and Jorge Luis Borges. Music videos are also released on DVD. We still believe in the full-length album with artwork that should be heard and felt as an entire work of art and not fragmented into individual downloads.

Current FB Recordings artists include Von Sleight, Rubber Band Banjo, Revolutionary Cells, Machines For Hire, Borg and the Ultimate Seeds, Bocinas, and Mutant Microbes. Older recordings from Rubber Band Banjo, Bocinas, and Brickburner are also available at the FBR website. Tracks from FBR artists have been played on KEXP, Warren Ellis mixtapes, Hollow Earth Radio, Don Campau's No Pigeonholes show and Weirdsville! Web Radio, made into Ninja videos, and have been the theme song for the sci-fi podcast Billibub Baddings. Several FBR releases are available on CD Baby, iTunes, Napster, eMusic, Amazon, and other digital distribution sites. Selected releases are available at Wall of Sound, Dissonant Plane, and Sonic Boom record shops in Seattle, WA.

Currently we are looking to expand our audio and video releases from like-minded artists. We will help you release your CD here, get it out to the masses through digital distributors such as iTunes, and market your release for review and radio play. See the demo policy if interested.

Some of our influences include Neu!, Can, Faust, Cluster, Kraftwerk, Heldon, Hawkwind, Keuhkot, Circle, Cleaning Women, Einsturzende Neubauten, Coil, Sleepytime Gorilla Museum, The Residents, Idiot Flesh, Moe!kestra, Secret Chiefs 3, Mr. Bungle, Frank Zappa, David Bowie, Cabaret Voltaire, Throbbing Gristle, Tuxedomoon, Wire, Gang of Four, Devo, Joy Division, Pere Ubu, La Dusseldorf, Bogus Blimp, When, Ulver, Arcturus, Solefald, Shining, Magyar Posse, Alamaailman Vasarat, Aavikko, Messer Chups, Henry Cow, Art Bears, Fred Frith, Chris Cutler, King Crimson, Brian Eno, DNA, Der Plan, Palais Schaumburg, and many more.

Not since the early days of MC5 at the Grande Ballroom in Detroit, circa 1968, had there been such an organic melding of sheer metalesque maelstrom and free jazz. These archival recordings from the legendary punk club CBGB's capture a moment in time when open-minded musicians from the 'downtown scene' were exploring the possibility of bringing Lou Reed's feedback-infested Metal Machine Music together with Albert Ayler's Love Cry.

Dissipated Face guitarist Kurt Ralkse and special guest saxophonist Daniel Carter provided that implausible link between punk rock and avant garde jazz on these 1986 live recordings. Fueled by the throbbing rhythms of Steve "X Dream" Popkin and Ben "Face" Munves, who alternated on bass and drums, Ralske's twisted, thrashing power chords and shrieking licks blend with Carter's cathartic alto sax wailing to make the perfect union of disparate worlds. And their shouts on the opening track of "Rock is dead, shithead!" is every bit as anthemic as MC5's "Kick out the jams, motherfuckers!" 

Ralske would go on to attain a certain level of indie rock fame with Ultra Vivid Scene and subsequently make an impact as a producer-conceptualist-avant-popmeister and visual artist. Carter would become one of the most ubiquitous figures on New York's free jazz scene, recording with William Parker, David S. Ware, Billy Bang, Alan Silva and Matthew Shipp and the cooperative bands Test and Other Dimensions in Music. But for this one moment back in 1986, their paths crossed with bandmates Popkin and Munves, and the results were frighteningly intense.

Bill Milkowski (written over 500 sets of liner notes and contributes to Jazz Times, Jazziz, Absolute Sound, Down Beat, Guitar Player, Bass Player, Acoustic Guitar, Pulse!, MIX and Interview. Author of “JACO: The Extraordinary and Tragic Life of Jaco Pastorius,”)

The Dissipated Face Story
"Sometime in 1980, I met Kurt Ralske on line at a Fred Frith show at the Squat Theatre in NYC. Kurt was then in high school and played guitar & trumpet. I was about 10 years older and ran a series of jam sessions at my parents house in Linden, NJ whenever they went on vacation. Kurt & I had similar musical interests and became good friends. I invited him to jam with some jazz and rock musicians from the Linden area and some great times were had. Within a year, Kurt helped organize a trio with two friends of his from high school in Merrick, Long Island. This trio were called Dissipated Face and featured Kurt, on guitar,  Ben Face (Munves) on bass and Steve X. Dream (Popkin) on drums. Most of my local musician friends played mainly jazz but they had had rock, blues, folk & even punk influences as well. I remember when Dissipated Face showed up at my house on a Sunday afternoon during a week's worth of jams. They set up, played a one hour set and left quickly to return their borrowed car. They blew the minds of everyone in attendance that day as they would for many times in the future.

What was great about Dissipated Face was that their music was a unique blend of progressive & punk rock, reggae and avant/jazz. They wrote strong memorable songs and jammed. They were ambitious, crazy, fun, serious, talented and much younger than any musicians that I was friendly with. They came to many of the jam sessions at my house and learned from the older cats as well as having their own jams where they lived. I ended up managing them or at least getting them gigs whenever I could because they loved to play and would go anywhere to do their thing. 

Although both Ben Face & Steve X. Dream were talented musicians who often switched off on bass & drums & vocals, it was Kurt who was their secret weapon. Mr. Ralske had a scientific approach to playing guitar and using devices. He was able to control feedback, which is no easy feat, and often took incredible guitar solos. Another thing about Dissipated face that set them apart was they loved to experiment and take chances. I was honored to sit in with them on several occasions playing hubcaps and reciting poetry. 

Another free spirit was of course 
Daniel Carter also jammed with them on several dates. Mr. Carter's motto is, "have horns, will play!" Daniel Carter has always searched for and played with other like-minded musicians who don't care about categories or boundaries. I can recall when he sat in with my young pals some 25 years ago, as well as sitting in with punk/thrash/hardcore bands from NY around the same time! 

Dissipated Face were amazing in their day and were fearless in exploring the better parts of free music. Long live Dissipated Face and Daniel Carter!"

Bruce Lee Gallanter 
Downtown Music Gallery 

“I remember the downtown music scene when I moved into NYC in 1980. There was Rock, Punk, Jazz, Free Jazz, Loft Jazz, Blues, Country, Folk, Noise, experimental and all sorts of art and improvisation being mixed together in every way imaginable. I’d go to a club and see the Ramones, and then Don Cherry would play afterward while someone was painting on the same stage! That time really opened my mind as to the notion that anything was possible. It influenced me to call some of my old Rutgers friends from New Jersey a few years later and start my band, “Machine Gun”, (Based on the FMP record by Peter Brotzmann). Our first gig was at the Pyramid club when we were first called, “Sounds of the Apocalypse”. Half way through the set male dancers started undressing and dancing on the bar.

I met Steve and Ben and started playing with them around the same time, and was really impressed as to how tight they were playing together. Steve would play drums and percussion and Ben would play Bass and Keyboards. We’d get together whenever possible and ask our friends to join us. This included Bill Milkowski, Bruce Gallanter, Ted Goldberg, Daniel Carter, Jay Walk, Richie Rock and many others.
A few years later Steve, Ben, and Bruce would help me start my record company, MuWorks Records. I’m still in touch with all of them and try and jam with them whenever possible. It’s great to see this Dissipated Face album getting released. It’s a great document from a great time from great people!”

Bob Musso
(Daredevil guitarist for Machine Gun and main engineer, collaborator with producer Bill Laswell for nearly three decades) 

Kurt Ralske - the story of a Long Island boy discovering art school noise-pop and conceptual art practice in downtown NYC; the struggles, successes and failures of a pop music career; and finally, reinvention as a visual artist working with experimental film, installation art, and Borgesian invented worlds.

But earlier this year, history took another one of its interesting turns, with Ralske suddenly and unexpectedly reminded of his time playing scratchy, No Wave guitar noise in the Dissipated Face trio, back in the mid-‘80s...

I have always been interested in what happened for you before Ultra Vivid Scene, in bands like Dissipated Face, Crash and Nothing But Happiness. It must have been quite a strange thing for you to be reminded of Dissipated Face, out of the blue.

Kurt Ralske: So I get this email from the drummer of Dissipated Face, who’s been off my radar for over twenty years, and then the same week, two or three other things happen: I have this conversation with you, and then one of the touring guitarists from Ultra Vivid Scene, who I’m friendly with on Facebook, got in touch with me because he discovered this funny interview somebody posted on YouTube. It was really shocking to be reminded I was once that person. [laughs]

What do you remember of Dissipated Face?

KR: I started playing guitar when I was 15, and shortly after, I met two other high school outcasts who wanted to start a punk band. I didn’t really know what that was. I knew quite a lot about music, because my original instrument was the trumpet, and I had worked hard to figure out how to play jazz on the trumpet, so I knew quite a lot about harmony and theory. And I liked prog rock, so when I first picked up the guitar, I was trying to figure out how to [play] King Crimson. It wasn’t like, Okay, I want to be in The Ramones, it was, I want to be Robert Fripp. But my band members had a very strong interest in what was going on in New York, as I did too, but I was more interested in the avant-garde side.

The whole thing was a little bit hardcore, a little bit avant-garde, a little bit punk funk. I wasn’t able to imitate the way most punk rock players played guitar, because I didn’t know the basics, I only knew this weird advanced stuff. So it led to this odd mash-up of styles.

So how did it feel listening back to that recording [Dissipated Face With Daniel Carter, Live At CBGB 1986 (2013)]?

KR: Well, that recording is quite nice, because Daniel Carter is a pretty great musician! He wasn’t a regular member of the group, but he did play with us several times. I think we even rehearsed with him, he would just figure out what to do. When I heard the first track on the record recently, I was impressed, partly because I thought, Wow, there is a dialogue going on between the guitar and the saxophone: I wasn’t just this dumb kid making noise, I was listening a little bit too. So that was a pleasant surprise. I had completely forgotten that I ever played in that style.

A Quietus Interview
Joy & Futurism: Kurt Ralske Of Ultra Vivid Scene Interviewed 
Jon Dale , October 14th, 2013 
http://thequietus.com/articles/13367-ultra-vivid-scene-kurt-ralske-interview

Raymond Pettibon is the EP cover designer artist. Pettibon suggested the name Black Flag and also designed Black Flag's distinctive "four bars" logo. His artwork appeared on many album covers including the Foo Fighters and the 1991 Sonic Youth album, "Goo",  and is well known in the punk rock and art scenes. He has been exhibited at the Museum of Modern Art NY and LA Museum of Contemporary Art . He exhibited in the Whitney Biennial 4 times and, they presented his solo exhibition in 2005. In 2013, he created a billboard for the High Line displaying a drawing called No Title (Safe he called ...).

Roaratorio Records: 
James Lindbloom's belief in the album as a work of art is so strong that he makes packaging a major priority. Lindbloom's predilection for spectacular cover art has been a Roaratorio trademark since the label's start in 2000. His high standards have played a big role in ink already spilled about Roaratorio. His roster includes John Cage, Steve Lacy and other jazz and avant garde artists. 

Reviews:

Wire Magazine 

"Oddball discovery of a live meeting of an early group led by Ultra Vivid Scene’s Kurt Raiske with the always amazing Daniel Carter guesting. Carter’s on sax here, and the blend – right near the end of New York City’s post-SIN Club trajectory – is a very cool collision between free jazz and late period scum-rock readymades. Why was this not known of before?"
Byron Coley (Forced Exposure  NY Rocker, Spin. One of the first writers to have documented indie rock from its inception and author of No Wave, the first book to visually chronicle the collision of art and punk in the NY underground 

MaximumRockRoll 

"Frantic free punk, that reminds me of Easter Monkeys, then Flipper, then Pere Ubu... it's wound up post VU sounds from the streets of NYC when that still meant something, inflections of no wave spurting saxophone and weirdly HC-esque guitars, but the swagger and fuck-you take over and overpower the skronk...It's reminiscent of MC5's incursions into jazz, not jam Ginn band shit, but fucked up on PCP Les Dirtbags out for blood, armed with Sun Ra and the Dead Boys. Sick Pettibon cover art too. Eat it or beat it!"

Volcanic Tongue 

"Amazing archival unearthing of previously unreleased No Wave/free jazz live blats from this wild free rock group featuring saxophonist Daniel Carter: Dissipated Face was the trio of guitarist Kurt Ralske (later in Ultra Vivid Scene et al), bassist Ben Munves and drummer Stephen Popkin and the music was a mutant strain of hardcore with fast, up-tight rhythms over the kinda free guitar crank that would reconcile Rudolph Grey, Arto Lindsay and Keith Levene. Indeed, there’s a weird American hardcore take on Metal Box to some of the music here, colliding with classic No Wave refusal to make for some amazing Demo Moe-style freak. Great songs, with titles like “Rock Is Dead, Shithead”, “Streets Of New York” and “Nazi With A New Name” and when Carter comes in on saxophone the effect is like the MC5 eviscerating Jon Landau’s goddamn corpse live on stage and straight to bootleg. Comes with cool Raymond Pettibon artwork and liners. Too much, totally great and highly recommended."
David Keenan (Scottish critic and musician. Author of England's Hidden Reverse, a biography of Coil, Current 93 and Nurse With Wound)

Black to Comm:

"Don't let the Raymond Pettibon cover fool you---this ain't exactly some SST discard that cluttered up the amerindie record collections of the late-eighties! Dissipated Face, although they could have made it as a fringe signing to that infamous label, are a tad different'n the reams of collegeboy experimental bleats that were getting a whole lotta hosannas from cloistered clods like myself. As if you actually knew, Dissipated Face were a hot trio that was romping through the post-fun era of NYC rock back when they laid these sides down at CBGB on July 31st of 1986, and their mix of everything from free jazz and late-seventies avant-prog to punk rock made for some of the wildest mergings of the form since Red Transistor. Nothing as out-there as that group, but better'n many a similar-minded excursion into freedom aesthetics. What's best is that none other'n noted avant saxist himself Daniel Carter sat in giving a particularly Albert Ayler-ish air to these excursions, so if you were a fan of this guy's various endeavors on the stage of the CBGB Lounge during the final days of Hilly you'll be glad to know that he was in on the punk jazz game for a longer time'n you could've dreamed!"
the Classical

Yellow Green Red:

Dissipated Face with Daniel Carter Live At CBGB 1986 7″ (Roaratorio)
If you’re like me, and you got into standard rock music that had choruses and verses and bridges as a child, but always longed for something more extreme, you probably remember the moment you first heard Septic Death or Albert Ayler or Wolf Eyes or Mr. Bungle or whatever it was that destroyed the musical parameters previously established by your brain. I bet if I stumbled into CBGB’s in 1986, everyone probably would’ve been like “who the hell let a five year-old in here, where are his parents?”, but supposing I was a teenager or something, Dissipated Face probably would’ve cracked my skull open with their flailing, post-no-wave free-rock assault. They sound like one of those early ’80s downtown NY groups like Lounge Lizards or Material or Golden Palominos, had they crashed into Reagan Youth on the cab ride over with the few surviving members improvising live. It sounds dated as hell today; it’s almost quaint to imagine this ever sounded “crazy” to anyone, but if I strain hard enough I can definitely teleport my senses back to a time when every crazy record wasn’t available in two clicks and Glen Humplik was more famous than Glenn Branca. Check out “Streets Of New York” first, that’s my personal favorite, and see what Dissipated Face does to you!

Dusty Groove:

Mindblowing punk and free jazz collision from Dissipated Face – with alto sax behemoth Daniel Carter blowing fiercely out front – a fast, brutal, yet defiantly musical quartet of songs recorded live in 1986 at the legendary Bowery club! This great 7-inch, 33 1/3 RPM EP has four killer tracks – with fast, bashed out guitars, furious rhythms and angry, aggro vocals – really cool underground stuff just on that level, but Carter's brilliant sax truly blows it into on amazing level. Titles include "Rock Is Dead, S**thead", "Nazi With A New Name", "Streets Of New York" and "My Life Is Like An Alligator". (Picture sleeve designed by Raymond Pettibon.)

Midheaven:

Archival recordings from the punk club CBGB that captures the live fusion of punk rock and avant-garde jazz by the open-minded members of Dissipated Face with saxophonist Daniel Carter.

DISSIPATED FACE WITH DANIEL CARTER: Live at CBGB 1986: 7”
Four songs from back when punks were still doing some experimenting in their music, mostly trying to add jazz to the mix. It all comes off like Black Flag adding the most of no wave. As a relic it’s interesting –Rick Ecker Razorcake (roaratorio.com)

Downtown Music Gallery Newsletter

Dissipated Face were and are old friends of mine that I met when they were still in high school in the early eighties. Dissipated Face featured Kurt Hologram on lead guitar, Ben Face on bass & vocals and Steve X Dream on drums & vocals. They were the most ambitious young band I knew and they blended just about everything into their unique sound: punk/prog/jazz/noise/ psych/rock/dub/metal. They were part of scene with friends of mine from New Jersey that would jam whenever and wherever they could. I was glad to help them to get gigs and they never ceased to amaze audiences whenever they played live. They jammed with many members of the early Downtown scene like Steve Buchanan and Daniel Carter. Recently discovered was a set they did at CBGBs in 1986 with the amazing Daniel Carter sitting in. Four fantastic songs from that set are soon coming out as a 7" EP on the Roaratorio label. The cover art was done by the great Raymond Pettibon and the liner notes were written by Bill Milkowski and yours truly.
Bruce Lee Gallanter

The group’s members, guitarist Kurt Ralske, Ben “Face” Munves on bass, vocals and drums, and Steve “X Dream” Popkin, on drums, vocals and bass, met in High school. On November 5, 1981 they played they first gig. Dissipated Face made its debut at CBGB's 2 weeks later on November 21th. The group's name was inspired by a photo of rock legend Mick Jagger as well was their songs, Rock is Dead Shithead and Reagan is a Nazi. This EP was recorded at their very last gig together, 5 years later.  They played at CBGB at least a dozen times as well as 60+ gigs in NYC, LI and NJ. They were contemporaries of Sonic Youth and opened for the Meat Puppets and Shockabilly, Cheetah Crome, Anti-Nowhere League, TANK, and many others, but they never had an official release until now! 

Members:
Kurt  Ralske - guitar 
Influenced by : Fred Frith , Miles Davis 
Ben "Face" Munves - bass, vocals, drums (Streets of New York)
Influenced by David Bowie , Lou Reed
Steve "X. Dream" Popkin - drums , vocals, bass (Streets of New York)
Influenced by The Clash, The Ramones

Collectively they were influenced by the downtown improvisers and John Zorn, DNA, No Wave, Eno,
Bill Laswell, Dub Reggae, King Crimson and James Brown. 

The band broke up  5 years after that first basement gig. Steve and Ben continued as the Dissapated Improv Orchestra with Daniel Carter, Robert Musso, Ted Goldberg, Bill Milkowski, Bern Nix, Robert Quine and others as special guests for a couple of years. 

DISSIPATED FACE With DANIEL CARTER "Live at CBGB 1986" 5 song 33 1/3, 7-inch EP

Produced by Stephen Popkin and James Linderbloom for Roaratorio records. 

This tape was recorded off the board  by the sound man at CBGB. It was converted to digital by Will Dahl,  mastered for vinyl by Carl Saff. Cover by Raymond Pettibone, Photograph by Scott Hiller, Liner notes by Bruce Gallanter.

Von Sleight formed in June 2005 in an attempt to merge analog synthesizers, homemade instruments, electrified
household objects, and other strange percussive devices. We are influenced by many types of music including
krautrock (Neu!, Can, Faust, Cluster, early Kraftwerk), space rock (Heldon, Hawkwind), Finnish avant-garde and
krautrock (Keuhkot, Circle, Cleaning Women), early industrial (Einsturzende Neubauten, Coil), and San Francisco
Bay Area avant weirdness (The Residents, Sleepytime Gorilla Museum, Idiot Flesh, Secret
Chiefs 3, Moe!kestra).

The first album, Fringe Biology, is mostly a one-take experimental space rock session cut into multiple tracks and
was completed in 2005. The second album, Signs of Life, was completed in 2006 and is a more structured and
eclectic mix of styles than the first, varying from ambient krautrock to Joy Division meets Tiki exotica to early
industrial with tinges of jazz. Scandinavia Darkly, the third full-length release from 2007, was inspired by adventures
in Scandinavia and mixes MIDI instruments with homemade instruments/objects/devices and analog synthesizers. 
Styles include the Residents meet Kraftwerk "Radiation in the Eyeball", Finnish painter/graphic artist Hugo Simberg 
inspired "Symphony For Simberg", and Charles Mingus / African Head Charge hybrid "Sibelius and Salmiakki". 
The fourth album, Sieves & Cyphers, was completed in 2008 and will be released with a companion EP. Both of 
these releases emphasize the use of the Kaoss Pad, mixed with rhythmic freakouts, jazz, and Der Plan-like percussion.

New Kraut, the fifth album, will be release on Fringe Biology Recordings on 10/10/10 for their 10th release. 
This album takes the avant-electronic, jazz, space rock, and warped pop styles from previous albums and infuses these 
sounds with Krautrock and dub. The result is something like the analog tape recordings of Neu! being accidentally spliced 
together with Hawkwind, Cluster, Lee "Scratch" Perry, Miles Davis, and The Residents. The instruments used on this album 
include the Korg MS-20 analog synthesizer, fretless bass, Electribe, trumpet, electronic and analog drums, Kaossilator, and 
MIDI instruments. The video for the title track follows a UFO that delivers New Kraut to the good people of earth. Like a virus 
from outer space, the New Kraut is discovered and gets propagated into supermarkets for mass commercialization. New Kraut 
is not a sandwich, it's a casserole.

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