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ARCHETYPE:
s/t debut CD, released 8/2008, available at Stickfigure Records or  ![]()
INDUCTIVE REASONING:
"Incensed ravings and bizarre electronic rhythms manifest profound sound seizures. Broiling relentless anxiety and encroaching apocalyptic frustration makes this feverish, sample-prone, art-damaged industrial-psychedelic experience a challenging yet gratifying debut." - KFJC 89.7 FM
"The song construction gleefully defies conformity, eschewing typical craft for a fevered pitch, stress-inducing rhythms and absolute frenzy. The album whirls about like a disjointed and scatter-shot heated dream, complete with synthesizers and bombast, dominates the senses and places a foot in the middle of your sternum." - Southeast Performer
"Centered around the buzz, rattle and hum of diseased electronic gadgets built on the sounds of vaguely sci-fi psychodrama, this is potent, pulsing stuff." - the one true dead angel
"With a dark and unrelenting electronic core, demented vocals that sound piped in from Hades and an intense percussive assault, this is the music of madness unleashed." - Stomp and Stammer
"(Tenth To The Moon’s debut) is blanketed with art-damaged and proto-industrial imagery and is all about layering rhythms to push the art of psychological assault to disturbing new heights." - Creative Loafing
"Tenth to the Moon’s wrenching performance would have worked just as well in the midst of the storm as it did now, two weeks since the F-2 tornado hit." - Southeast Performer, review of Tenth’s set at Lenny’s (Atlanta, GA) Tornado Victim’s Benefit Show
"You can always count on Tenth To The Moon to do something outlandishly different. Their set was glorious: loud, fast, chaotic, screaming, clanging, clattering, bass riff heavy, keyboard melody driven, beautiful noise" - Evil Sponge
DOSSIER:
Concussive percussives; plutonium synths; deformed sampledelia; four and six-string anti-blooze; reckless silhouettes; videographic hallucinations; eye and ear-witness reports of primal, onstage fever: a car’s luckless gas tank deployed as sonic bludgeon, blood-red paint rolled on stage sweat skin, screaming sirens and colliding cymbals as performance prologues… By rising above the collapse of human empire through electro/tribal rituals of delirium and precision, Tenth To The Moon have evolved into one of Atlanta, GA’s most visceral, unpredictable and artful live bands, crafting a relentless and uncompromising purity that has also been captured on their self-titled debut CD.
Formed in 2002 by vocalist, percussionist, and electronics provocateur Mitchell Foy after the demise of Pineal Ventana, Foy’s notorious neo-primitive cadre that left a trail of scorched earth, 7”s and CDs in its wake, Tenth To The Moon quickly solidified into the core-duo of Foy and arch-synthesist Doug Hughes. A luminary of Atlanta’s early 80’s industrial scene and a long-standing member of space-age utopians Broken Symmetry, Hughes had worked intermittently with Foy since engineering some of PV’s earliest recordings. Fusing high and low tech tools to soundtrack Foy’s unflinching and disjointed lyrical exposes of the irrationality percolating under culture’s facade, Tenth To The Moon added and subtracted members throughout the next few years, gigging constantly and doing shows with the likes of Suicide, Melt Banana, Steve Mackay & Radon Ensemble, Jarboe, and Glass Candy.
By mid 2007 the then-lineup of Foy, Hughes and bassist Tim Shea of Boston’s Cloud Furnace began recording and assembling the band’s self-titled debut (Shea left shortly after production was completed), constructing a dizzying blend of new material with skeletal constructions and live improvisations sourced from throughout the band’s history. Various friends and former conspirators also made appearances, including Pineal Ventana alumni Shane Pringle (currently of Tiger! Tiger!), Travis Kotler, and Clara Clamp; former Hex Error leader Jason Hatcher; and Kathleen Hairston of Mars Killed Mary. Mastered by James Plotkin and co-released in August 2008 by Stickfigure Records and ISP, the resulting CD features a pulse-quickening, multi-dimensional series of monumental tracks, seamlessly intertwining the band’s trajectory from stark electronic minimalists to panoramic, avant rock transgressors.
The current lineup, featuring some of Atlanta’s most durable and respected independent musicians, has proven eminently capable of reproducing the CD’s stylistic detonation of pop norms while contributing to Foy and Hughes’ ongoing mission of charting the wilderness beyond. MIDI guitar maven Brian Ginn played in the final incarnation of PV and is a theatrical sound designer known for his work with such companies as 7 Stages. Bassist Keith Lee worked with Foy during the late 80s in post-punk agitators King Kill/33 and currently plays guitar in chamber goths Envie. Sean Moore, purveyor of schizoid electronica as Lid Emba and former member of post-proggers 3d5spd, joined on drums and samples just in time to be included on two tracks of the CD.
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