I’ve done a lot of things, just look around on google. I was the sound manipulator, and generally frightening violent mongoloid for bloody knives. I was a violent crossdressing metal vocalist. I was calling myself masterblaster for a while during a creative dry period. I was a butterfly then a caterpillar in IOK. I did things.
Mix that Texas musician Jim Moon (aka Taxxess / 1/2 of Creeps / ex-Bloody Knives) compiled for us recently is steadily approaching the top of Mixcloud charts (currently #20 for “idm” tag). Take a listen:
Few words on artists featured in the mix
North Carolina-born artist Travis Stewart, known as Machinedrum, occupies a perhaps unique place in US electronic music. A pioneer and a populariser, a restless and relentless seeker, Stewart brings together coasts and continents in projects which are both conceptual and heartfelt, clever and banging. He has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles with ease, through solo Machinedrum work and with collaborative projects Sepalcure, JETS, Dream Continuum, or other mutations, Stewart has established himself as electronic music’s true Renaissance man.
Defining the band’s sound cannot be simple as they are equal parts Sonic Youth, Goblin, Hawkwind, mixed in with thrash and even post-punk. They can share a bill with virtually anyone, permitting that band isn’t bullshit. Bloody Knives have become a dividing line. If you are bullshit and you play a show with this band, they will embarrass and upstage you. “Over the Edge”-looking motherfuckers playing bell bottom rock should cower at home if they see this band’s name on their bill.
Looking for ways of expressing through sound the inspiration people feel as they enrich themselves with new ideas, new knowledge and new experiences. Devras Plexi is an electronic music artist living in Austin, TX making music with an experimental edge that strives to be progressive and unique to the traditional preconceived notions of electronic music.
Screen Vinyl Image
It often takes time for commercially overexposed genres to get their critical due: Once the radio over-saturation dies down, and once the fair-weather fans have moved on, it’s easier for Beatles fans to admit that The Monkees were okay, or hard rockers to acknowledge liking ABBA songs. Seen in this retrospective light, the 1980s turf war between synth-fired dance music and guitar-powered indie rock seems a little silly. Washington, D.C.’s Screen Vinyl Image uses its distance from both genres to fuse together hard-edged dance-rock with smoldering guitar drones, cycling synthesizers, wistful lyrics and science-fiction motifs.