WE ARE A REVOLVING MOTLEY CAST:
All songs not produced and engineered by Reverend Ralf23 were engineered by
JON CHAPMAN.
Most of our live photos were taken by LINDA.
Influences
From about 1901 on, Austrian-American violinist Franz Kreisler (1875-1962) was perhaps the most popular violinist in the United States. He gained considerable fame by playing, for the first time, certain "little masterpieces" on the violin, which he found "in libraries and monasteries while visiting Rome, Florence, Venice, and Paris"- the works of masters like Vivaldi, Puganini, Francouer, Porpora, Couperin, and Padre Martini. Unfortunately, these classics NEVER EXISTED. Since noone would book a performance for a solo violinist, Kreisler had to INVENT these "hidden masterieces" in order to be able to play. Even after the fraud was revealed, Kreisler remained very popular.
Now that I think of it, one time while me and a friend were watching Sonic Youth, a man got stabbed in the parking lot where my car was, yet managed to run across the entire lot before dying in the lobby of the hotel across the street. At one point he must have stumbled, because he left smeared bloody handprints along the trunk of my car... I'm pretty sure that influenced me somehow.
Sounds Like
A lonely confused boy that identifies with the tangiblitly and fragility of the tension/release aspects of organized sound we call music much more than he is able to cope with the tangibility and fragility of the tension/release aspects of the disjointed events/perceptions which provoke true human emotion...
WAIT, WHAT?
What I'd tell the Austin Chronicle is:
According to K8A from Before Dawn we sound like 'Andy Kaufman doing Industrial music...' Not sure what that means, but I'm taking it as a compliment.
"RESISTANCE IS FUTILE"- AUSTIN CHRONICLE- April 18, 2007.
"LIKE ANDY KAUFMAN DOING INDUSTRIAL MUSIC"- K8A from BEFORE DAWN
STOMPY, BOUNCY, NOISY, SAMPLE-HEAVY ELECTRO-PUNK FROM AUSTIN, TEXAS. INTERESTED IN META-MEME RE-PROGRAMMING AND CHEAP BEER. OFTEN INCLUDES BACK-UP DANCERS AND PROJECTED ANIMATION. YES, WE'RE SERIOUS. WE'RE AN ANTI-RACIST, ANTI-SEXIST, ANTI-HOMOPHOBIC BAND THAT STILL MANAGES TO HATE EVERYBODY ANYWAY. WE THINK VEGETARIANS ARE DELICIOUS. WE LISTEN TO CRASS IN PUBLIC, BUT DANCE BY OURSELVES TO TECHNOTRONIC.
Founded in 2002 by Ralf23 and Dave Bates, Destroyed For Comfort has been a full-on wall-of-noise cultural and political assault. Incorporates feedback, densely-layered samples, found sounds, heavily distorted vocals, home-brew instruments, self-produced projected animation, costumes, guest musicians, back-up dancers, and self-mutilation into events that are hard to ignore.
Destroyed For Comfort has devoted much of their performance services to benefits for non-profit, activist, and relief services such as the SIMS Foundation, Locks Of Love, Anti-Racist Action, the Green Party, Tribal America Network, and the ACLU, as well as various relief efforts for Katrina victims and the citizens of Darfur. We've also been known to perform at benefits for independant music venues and the Texas Rollerderby jeerleader team Bomb Squad.
It would be unwise to underestimate us at this point in the game. We're just getting started...
To put it one way, if you desired to "hack" another person's soul the way you would a computer network, you would need a proper TCP/IP port. This port is buried deep within the other's brain. To hack another's brain, the most effective points of attack are the visual, the verbal, and the linguistic/symbolic. Up until recently, popular music was carried by a special, near shamanic group of people, most frequently known as bards. The songs they sang told of old stories and revealed occult secrets and constantly evolved through time in a constant attempt to stay modern and relevant. In the process, it was not uncommon for a musician to borrow a line or a melody from another recognizable song and include it in "original" material in order to maintain the timelessness of their craft. Melody lines, lyrics, and occasionally whole choruses were freely borrowed, modified or even stolen between popular musicians from medieval times all the way up to the 1920s. It is only recently that the concept of "ownership" became applied to the previously transitory and practically hallucinatory craft of music. This "ownership" dictates power. The power to override hundreds of happy childhood and adolescent memories with the giant fucking soda can obstructing your field of vision as your favorite song plays. The power to make EVERYTHING sound the same in order to stretch the shelf live of bland, vapid tunes. The power to halt and stunt the natural evolution of the musical craft. A touring R&B band from the 1960s dropped their guitar amp, tearing the speaker and they were too poor to get it fixed. The resulting grunt the guitar made caught on like wildfire, and blues and rock bands all over the south were slashing their speakers to get that sound, which eventually inspired the inventor of the distortion pedal, a definingly essential part of modern music. Imagine if anyone in that whirling zeitgeist had decided to halt the process by claiming what they had done was exclusively theirs and began suing to maintain that position. The organizations and entities that rail so much about copyright protection and "intellectual property" are the same kind of people (and often the same people) that make too much money anyway.
Come on you know want to play @ Elysium tonight... remember ELYSIUM is hosting a FREE JAM SESSION tonight from 10pm til 2am.... its a complete free for all so if you're so inclined stop by, bring and instrument, and see what happens! Pat & Sky will be there... Guymon too.
your tunes are actually fuckin nuts! and love the graphic on the left
got a cover/remix i made going onto a guys single and is gonna be available on iTunes and stuff I should have it posted on here as soon as he sends me the file.
ORIGIN - A NIGHT OF PURE BLOOD LIVE GOTHIC INDUSTRIAL MUSIC @ ELYSIUM MARCH FRIDAY THE 13th~ An unofficial part of SXSWi INTERACTIVE WEEK
Featuring Sullen Serenade, Neuroma, and HIPNAUTICA with special guests djs all night AIRBORNE ILLNESS, DJ NONE, TEGO, subSPACE FREAKQUENCY. Not to mention brand new video featuring Roscine ( our butoh performance artist) and a special climax featuring Mistress Kayla (SATX) and her human puppet from BOUND in San Antonio. Not to mention "DESTINATION IS UNKNOWN" Hipnautica first official music video will be presented for the first time at ever on March Friday the 13th at Elysium. Sullen Serenade from San Antonio starts the night at 9:30, followed by Neuroma, followed by Hipnautica at midnight.
Hey we haven't touched base but you are still welcome to drop in with us on March Friday the 13th at Elysium... if you can call me tomorrow otherwise see you around 6-7 at elysium for sound check.
Hey we haven't touched base but you are still welcome to drop in with us on March Friday the 13th at Elysium... if you can call me tomorrow otherwise see you around 6-7 at elysium for sound check.
All songs not produced and engineered by Reverend Ralf23 were engineered by
"RESISTANCE IS FUTILE"- AUSTIN CHRONICLE- April 18, 2007.
"LIKE ANDY KAUFMAN DOING INDUSTRIAL MUSIC"- K8A from BEFORE DAWN
STOMPY, BOUNCY, NOISY, SAMPLE-HEAVY ELECTRO-PUNK FROM AUSTIN, TEXAS. INTERESTED IN META-MEME RE-PROGRAMMING AND CHEAP BEER. OFTEN INCLUDES BACK-UP DANCERS AND PROJECTED ANIMATION. YES, WE'RE SERIOUS. WE'RE AN ANTI-RACIST, ANTI-SEXIST, ANTI-HOMOPHOBIC BAND THAT STILL MANAGES TO HATE EVERYBODY ANYWAY. WE THINK VEGETARIANS ARE DELICIOUS. WE LISTEN TO CRASS IN PUBLIC, BUT DANCE BY OURSELVES TO TECHNOTRONIC.
Founded in 2002 by Ralf23 and Dave Bates, Destroyed For Comfort has been a full-on wall-of-noise cultural and political assault. Incorporates feedback, densely-layered samples, found sounds, heavily distorted vocals, home-brew instruments, self-produced projected animation, costumes, guest musicians, back-up dancers, and self-mutilation into events that are hard to ignore.
Destroyed For Comfort has devoted much of their performance services to benefits for non-profit, activist, and relief services such as the SIMS Foundation, Locks Of Love, Anti-Racist Action, the Green Party, Tribal America Network, and the ACLU, as well as various relief efforts for Katrina victims and the citizens of Darfur. We've also been known to perform at benefits for independant music venues and the Texas Rollerderby jeerleader team Bomb Squad.
It would be unwise to underestimate us at this point in the game. We're just getting started...
To put it one way, if you desired to "hack" another person's soul the way you would a computer network, you would need a proper TCP/IP port. This port is buried deep within the other's brain. To hack another's brain, the most effective points of attack are the visual, the verbal, and the linguistic/symbolic. Up until recently, popular music was carried by a special, near shamanic group of people, most frequently known as bards. The songs they sang told of old stories and revealed occult secrets and constantly evolved through time in a constant attempt to stay modern and relevant. In the process, it was not uncommon for a musician to borrow a line or a melody from another recognizable song and include it in "original" material in order to maintain the timelessness of their craft. Melody lines, lyrics, and occasionally whole choruses were freely borrowed, modified or even stolen between popular musicians from medieval times all the way up to the 1920s. It is only recently that the concept of "ownership" became applied to the previously transitory and practically hallucinatory craft of music. This "ownership" dictates power. The power to override hundreds of happy childhood and adolescent memories with the giant fucking soda can obstructing your field of vision as your favorite song plays. The power to make EVERYTHING sound the same in order to stretch the shelf live of bland, vapid tunes. The power to halt and stunt the natural evolution of the musical craft. A touring R&B band from the 1960s dropped their guitar amp, tearing the speaker and they were too poor to get it fixed. The resulting grunt the guitar made caught on like wildfire, and blues and rock bands all over the south were slashing their speakers to get that sound, which eventually inspired the inventor of the distortion pedal, a definingly essential part of modern music. Imagine if anyone in that whirling zeitgeist had decided to halt the process by claiming what they had done was exclusively theirs and began suing to maintain that position. The organizations and entities that rail so much about copyright protection and "intellectual property" are the same kind of people (and often the same people) that make too much money anyway.
