Ure Thrall with special guests, Ferrara Pan, The Fruitless Hand, Kaosmikitty, Scott Sterling and the vociferous streetside evangelist who occasionaly haunts the intersection of Powell and Market Street
Influences
1.Things left in my toilet 2.Witnessing the Fruitless Hand's inability to curb his spontaneously vindictive behavior, often with hilarious results 3.The weakened state of music as an art form and my innate desire to see music transcend the shallow and mundane realms of entertainment 4.The certainty that I will one day be able to open a doorway to another dimension through my creative use of sonic expression 5.And finally, my primary influence is rooted in the satisfactioin I derive from making music that brings out a strong emotional reaction in the listener, as they are rocked by a powerful cosmic resonance induced by the relatively basic harmonic/melodic structures that make up the foundations of my more noteworthy songs. One piece that I recorded for the Bone Tree Soundtracks (entitled "Gemini") was described by one listener as "The loneliest sound in the Universe". Thus it should come as no surprise that when I see someone begin to weep while listening to my music, I am often moved to tears myself. And that's an indescribably blue-tiful thing...
Sounds Like
A thick ccmbination of all deepest darkest aspects of Lustmord, Soviet France, Troum/Maeror Tri, and Voice of Eye to name but a few basic comparisons. But like all really good music, I personally hope my music sounds wholly unique and unlike anything ever heard before now. You be the judge...
My alter-ego 'Ure Thrall' was manifested through a traumatic incident that occurred while I was cleaning the women's bathroom at my workplace. This somehow triggered into existence the personality and outlook of Ure Thrall which revolved around the notion that all forms of creative expression are simply shades of human excrement rudely dousing the planet with poorly conceived / executed works of music and art. Appropriately, ‘Ure’ and I then joined this foray, flaggelating ourselves tirelesly in the making of 'industrial noize' beginning in 1985.
