Terminal Sonic:

It was the electric revolution that made it happen, the disembodiment of sound. The telephone and phonograph, forever divorcing a sound from its moment creation. In the previous 4 billion years you only heard a sound when it was made, only heard a voice with in hearing distance, only listened to music when it was played right before you, never to be replayed the same way again. Before the concept of “realtime” or “playing live” was even under consideration, this was the norm of reality. The discovery of electricity broke the chains of temporality, freeing sound from the passage of time, disembodying it, exorcizing it like a ghost now to wander and drift among the mental environments of modern life. Now disembodied sound is ever present, back ground soundtracks to the banal drama of our daily lives: Muzak in the shopping mall, kids strolling past with their ghetto blaster, radio stations, elevator music, tape players, answering machine, micro tapes, the neighbors hifi stereo coming through the walls, your colleague humming a show tune across the office. Constantly recontexutalized to the point of no context at all, except maybe an airbrushed photo in a glamor mag or an over produced video on MTV. But even yet sound does not live forever, instead it is condemned to a slow, sometimes glacially slow death. Voices recorded on wax eventually scratch and degrade as their medium becomes obsolete, fodder for thrift shoppers, collectors, flea markets, and dusty attics. Magnetic tape deteriorates over time into ear splitting shrieks, static and nauseating loops as the plastic warps, is scratched, gets stuck in the machine, or left too long in the sun. Even ditigal recordings are subject to viruses, loss of quality and terminal obsolescence of technology. Everything dies in the end.

Sonic Resources:

Experimental? A label now typically reserved for academics, who, aside from a few gems, strip their creations of any emotional content, preferring to appeal to a cerebral audience of others educated in their presumptuous artistic sociological importance, degrading into conceptual wankery and in-jokes. We are the sounds of the streets, an appeal to anyone who has the inclination. Grass roots culture of punk and dada, of raw rebellion, curiosity and exploration of new territory for its own sake. We take liberty to use, mutate, stretch, and twist whatever sounds are at our disposal by any means necessary, lo fi, hi fi, magnetic tape archives, computerized sample splitting and sequencing, live jamming , analogue electronics, children’s toys, ambient sound, accidents, glitches, harmonies humor, cynicism, radio jingles, old records manic rants. Ours in a collective of any and all sonic means, yet with critique and focused intent. We are process oriented artists. The process leads the way, a constant feedback loop of reevaluation and new ideas. Where we start is never where we end. The final product is an audio document, often fractured and flawed, but a record none the less of a unique moment, idea and intuition. Further material then for permutation and reuse, resampling, recontextualizing.

Wave Band Empowerment:

%#$@?!! the theoretics. To the Music ==>