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MICHAEL RAPHAEL is dabbling with the occasional solo effort called The Mystic Hours. He's decided that he's written more than enough songs inspired by pain and has moved on to writing more affirmative songs rooted in his newfound "spiritual path" (no, he hasn't been "born again").

JOSH YOUNG is going to keep writing songs and is looking to do some kind of shoegazer/Cure-esque project since those are his primary influences. Catchy pop with noise, basically. He is currently working on a DIY project called Scarred Art.

ROB DeSTEFANO was playing bass and occasional keyboards for Plexus Loom. He has since moved on to a Doors cover band and Sloan Automatic.

MATTHEW WHITE is open to doing just about anything. He just wants to play some bass. "Has bass, will travel" is the way he puts it.

You can contact any of the guys by clicking on their pictures to the left.

Review: "Dead Sea Souls New Wave-y, down-tempo musical style contrasted with lead singer Michael Raphael's writhing, contorting stage presence. The band itself has a clear Bauhaus feel, with lead guitarist Josh Young's guitar work strongly reminiscent of The Cure. As with any live show, the vocals were difficult to fully grasp but the onstage performance by Raphael more than made up for it. Raphael's vocals shot out of his lungs like a cannon as he deformed, distorted and warped his frame into odd angles. Periodically looking more like an exorcism than a musical set, the singer's affecting display of emotion was punctuated between songs by a goofy grin and silly banter with the audience. The emotional connection to the audience that goes above and beyond the songs themselves is the fundamental staple of every great performer, and the Dead Sea Souls are well worth a visit." - TexasGigs.com

Diderot once remarked that good music is very close to a primitive language. While one can debate for ages what actually constitutes good music, it’s hard to argue against the notion that the best tunes emote to us in ways that are often incapable of being properly categorized and articulated. Rather, good music touches us in ways that are primal and unspoken. When Jimi Hendrix nails a solo or Robert Smith caterwauls about his latest malady, we feel those ebbs and flows and we can only ascribe words to those sensations that are associated with our most basic actions and feelings. A song might make us feel high or orgasmic, or maybe it turns us remorseful or angry. In the end, it doesn’t matter how the song makes you feel, but that it makes you feel something. Something primitive.