Truly a connosieur of psychedelic electronic music, Blue Spectral Monkey has been collecting and spinning constantly since 1996. He has played in 6 states and over 80 events since 2004 so far. Due to his devotion and mastery of the craft, Blue Spectral Monkey is widely recognized as one of the leading psychedelic trance DJs in the SouthEastern US. His trance sets are dark and twisted, pounding and mysterious, a symbiosis of tribal intensity and technological meltdown. Also, he is well known for his skills as a downtempo DJ. He dives deeply into new electronicdub, chilled breaks with an ethno-spiritual-psychedelic twist, and ambient soundscapes, all the time keeping the sounds thick, groovy and trippy. His production skills are growing over time, his projects so far have been explorations of techno-based rhythms, with an intelligent feel. Basslines that change every measure, multilayered percussions and disorienting samples twisted to create a warped sound environment appropriate for psychedelic videogame dancepartys in the matrix. Artist Statement: "If time is indeed art, then our lives have the potential to be an expression of art over time. Creativity manifests in my life in many ways: music production and DJing, altar/object arrangement, stone balancing, photography, writing, digital art, 2-d art; painting, drawing, collage. Electronic music, especially trance, communicates to me a framework or lens through which to percieve time and information. Like the dreamspell, the constant rhythms flow, leading further and further into awareness and synchronicity. My music production has only just begun, since I have begun I have only noticed an increase in the frequency of ideas and sounds I have in my mind."

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Caustic Crush (AKA David Cannon) began sampling and beat-making around 2000. As his interest in synthesis techniques moved to the forefront, sampling took a backseat to synth patch creation and then eventually even deeper into DSP and software instrument creation. Outboard gear from Swedish designer Elektron came into focus, and Caustic Crush became a notable contributor to the online community devoted to producing music with these instruments "not as intended". After 17 years, a collection of roughly 130 4-bar loop segments found themselves without the promise of completion or release, as most songs only lived in the realm of live performance to allow for a permanently flexible structure. Caustic Crush's A Jury Of His Peers (Radical Turf 2018) is the culmination of this experience and was compiled by hand-selecting 10-14 tracks by melody and swapping rhythms between songs and updating effects and introducing new patches. Caustic Crush's material has received high accolades for his recordings on the Radical Turf compilations. URB magazine called his track "The 10th Bullet" a "Rap Feast (that makes the album shine)" and ReGen Magazine called his track "1971" "One of the most effective...a powerful political electronic hip-hop piece comparing current events to the Vietnam War."

Artist Statement: "Caustic Crush uses Elektron Monomachine, Elektron Machinedrum, Elektron Octatrack, Dave Smith Evolver MEK PE, Access Virus Polar, MPC 1000 JJOSXL, Eventide Space, ELI Mike-E, Waldorf Blofeld, Numark TTX, Rane TTM56, Maschine, Komplete, Reason"

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A Jury Of His Peers

Founded in 1987 by former YOU synthesists uDo Hanten and Albin Meskes who joined forces with drummer Harald Grosskopf (ex-Ashra and Klaus Schulze). "Breakfast In The Ruins" is the first and to date only record-release by CENTRAL EUROPE PERFORMANCE, a spin-off-project by Udo Hanten & Albin Meskes concentrating on live appearances and - that's the difference from the "YOUrovision" philosophy - supported by other musicians from different corners of the music world. Among these were jazz-percussionist Frank Mevissen (later "Belgium"), hardrock-guitarist Ralf Aussem ("Sun"), guitarist Markus Janssen and accordionist Mike Peltzer ("M. Walking On The Water"), electronic drummer Sibi Siebert ("Twelve Drummers Drumming") and classical guitarist Jaime M. Zenamon. "Breakfast in The Ruins" was released in 1989 on Erdenklang Records. In the beginning of 1990 the band embarked on a nationwide tour, including three radio concerts broadcasted by WDR (Cologne), SFB (Berlin) and DFF (German Democratic Republic in the late days of their existence). The CEP live shows included laser performances, video projections, strange lights and a lot of musique extraordinaire. "Breakfast In The Ruins" has been voted among the "top 33 Electronic Music albums of all time" by the leading German music magazine "Keyboards" in their February 1997 issue. In the 21st century "Central Europe Performance" consist of Udo Hanten, Albin Meskes and Frank Mevissen. Extended biography in English and German here.

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Matthew Dotson spent many years of his life fiddling around with tape machines and rusty garbage in the sleepy town of Sycamore, Illinois before acquiring an undergrad degree in Media Studies from Northern Illinois University. Following this he remained at NIU to obtain a degree in Computer Music and New Media Technology under Dr. James Phelps. Currently he is pursuing a PhD in Composition at the University of Iowa where he studies with Lawrence Fritts and John Eaton in addition to assisting in the operations of the Electronic Music Studios. Recent performances of his music include Muncie, Indiana (SCI Student Conference), Romeoville, Illinois (Electronic Music Midwest), Cleveland, Mississippi (Electroacoustic Juke Joint), Gainesville, Florida (Florida Electroacoustic Music Festival), and Santiago, Chile (Festival Ai-Maako).

Artist Statement: "Most of my early computer work was chaotic and largely directionless until I rediscovered hip hop in the form of some old Public Enemy tapes. I had flirted with the notion of sampling before this, but hip-hop opened me up to the possibility of creating dense textures with layer upon layer of loops while simultaneously keeping it grounded enough to dance to. This helped sharpen my focus from creating a whole environment to creating fragments and layering them on top of one another. Thus, what resulted was a series of densely layered loops of my own and others music that was not only textural, it was danceable."

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First Disguised as Last

Dickie Beats is the musical manifestation of Donnie Bauer. Donnie is a digital artist based in Chicago, Illinois. After years of studying experimental electronic media, Donnie began numerous projects just exploring new soundscapes and collages. In 2003 Dickie Beats was born. Trying to withhold the idea of original textures and atmospheric soundscape, Dickie Beats is based around hip hop rhythms and buzzing synth melodies. Dickie Beats is dripping with computer glitch, live instrumentation, juicy samples, and found sound.

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Materializing in this sphere around 1972 in Detroit, Michigan, This ill specimen was a prototype. Absorbing the last few years of Iggy Pop and the Stooges along with George Clinton and the Funk Mob, little Eyes headed to the suburbs with his family in 1980. In the greener pastures of suburbia, child Eyes absorbed transmissions from Windsor's Brave New Waves and the Electrifying Mojo. As he grew, him soaked up Michigan Hardcore, the Scene, the New Dance Show, The Warehouse, Clutch Cargos, Bookies, Blondies, and St. Andrews. As the 80's became the 90's, he was inevitably sucked into Detroit's psyche reformatting rave scene and beyond.

Artist Statement: "A Clarion call to all my battle tested Robots This is future brain. Stop looking back...been there before many many times."

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Flesh & Stuff is music made with a computer. Songs are constructed using a Prussian indexing system developed for the cataloging of omnivorous wrens in the upper topiary of the eastern taiga. Variables from column A are cross referenced to a randomly decided originating point; based on the number of connections that derived from point A to point B are then expressed using a resistance bloc functioning as the footnote numbering as expressed in Appendix A (for variables expressed higher than 23,322, Appendix B functions as a number base). The resulting character string are reverse cataloged to a wren species, and the genus of that species then forms the encompassing theme of movement 1. The process is then repeated until movements 2-14 are mapped. Using this mapping system the progression of the piece is mapped on a line graph, with the X serving as a function of time while Y serves as a function of velocity. Then four musical notes are chosen. Each one is played by rhythms generated by the "Catalog of Beasts on the Lower Steppe" (see 8.11.4 in the handbook). That's how Flesh & Stuff makes music.

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Glossolalia is the work of one human, using one computer and sounds from everywhere. Focused on timbre, on rhythm and polyrhythm, on process, on the nature of psychedelic music, on finding music that expresses that which cannot be expressed elsewise, on the relationship between live performance and electronic composition.

Artist Statement: "Why "Quasi-Sentient Dance Music?"...it's a recognition of my interest in the strain of process music that runs from Reich through Eno and beyond. It's looking (see for example Minsky's _Society of Mind_) like consciousness is an emergent process, a sum that is greater than and not predictable from a large number of interacting, deterministic, even simple parts. My music is built in ways that suggest and refer to this emergence. Is it possible for a piece of music to itself become conscious in some odd way, on some punctuated time scale,dependent for embodiment on computers and sound systems as our minds are dependent on the wetware of our brains? We're already beginning to see music that can adapt and evolve in response to its environment. As the boundaries between music and software continue to blur, we can begin to imagine music that can attain sentience. We're not there (hence "Quasi") -- but we're taking the first steps."

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Ike Mentry, Zywot, Po Buckra, Purple Donkey......you never really know what name Mike Gentry is going to call his latest musical project. What you do know is that it's very likely going to be something unique and interesting. Mike got his professional start as a producer while studying various recording techniques at Salt Mine Studios in Tempe Arizona. During his tenure at daytrotter Mike recorded hundreds of bands. Mike vast  engineering experience has manifested into his own musical projects using a wide variety of vintage and modern gear.

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Hello Future?

Jim Phelps was a composer, guitarist, and professor from the Chicago area. He traveled extensively, especially throughout China, and absorbed various Asian cultural "sensitivities" into his own, Western music. He performed his music throughout Asia, Europe, North America and the Caribbean and his music is represented on five recording labels. "Hide Wind", his second CD, follows the 2000 release, ATALLMIRROR, and is the first to represent a group of four artists, who have composed and performed together, albeit remotely - JULULU. His most recent work was released under the name The Medusa Moons: https://soundcloud.com/themedusamoons

Jim was a Professor of Music at Northern Illinois University and was Director of the experimental/computer-music ensemble, Annex Group.  Jim left us in 2018, and he will be sorely missed by his friends, colleagues, and former students.  He was always an inventive and passionate artist and teacher.  RIP

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Konrad is the American song constructionist Jeffrey Konrad who puzzles together his unique brand of vocal poetics with a sorted sonic DNA that exhibits strains of indie, folk and electro. In the past he's recorded as an experimental electronica musician known as "Robot USA" as well as one half of a folksy duo known as "Struggle In The Hive" (recorded with Daytrotter founding engineer Patrick Stollety) . In mid-2000 Konrad launched Radical Turf Records; an imprint he founded with the intent of releasing compilation albums by underground electronic artists. 3 compilations and 5 full lengths later, the label continues to evolve as a medium for eclectic and eccentric audio. Konrad's debut album "Loose Canyons" was released on Radical Turf in 2008. Konrad's new album "Shadow Boxing" was released on Radical Turf in 2012 and is available on iTunes, Amazon, CD Baby, Bandcamp and Insound. "Shadow Boxing" charted on CMJ Top-200 radio and was licensed to MTV for "The Real World". Konrad's new album "Artbreak" is available August 11th 2017.

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Loose Canyons
Shadow Boxing
Artbreak

For nearly 10 years Dane Paris AKA Lens has been writing, recording, and producing original electronic music with a passion. His music is an eclectic mix of drum and bass, trip-hop, experimental, down tempo, IDM, film music, ambient, and jazz. His typical Punk rock roots took a turning point when he got his first drum machine. It was at that point that he began experimenting with analog tape decks, tube amps and casio keyboards. His producing craft was born. Lens spent some time studying film and music at Ohio University and immersed himself in MIDI composition while attending.

Artist Statement: "My influences include Future Sound of London, Tortoise, New Order, Bjork, Autechre, Squarepusher, Depeche Mode, Four Tet, Brian Eno, Prefuse 73, Out Hud, The Faint, The Cure, Mr. Scruff, Global Goon, Joy Division, The Go! Team, Angelo Badalamenti, Trans Am, Aphex Twin, Ratatat, Alias, Midwest Product, Tricky, Massive Attack, Boards of Canada, Stereolab, Do Make Say Think, Portishead, The Magnetic Fields, Underworld, Themselves, Men Without Hats, Kraftwerk, The Bad Plus, Duke Ellington, John Coltrane, Amon Tobin, Why, Dead Can Dance, Broken Social Scene, Siouxsie and the Banshees, Miles Davis, Jaco Pastorius, MC Chris, Charlie Parker, The Sixths, Sole, Curtis Mayfield, Talking Heads, Sage Francis, Human League, Sun Ra, Thelonious Monk, Restiform Bodies, Medeski, Martin and Wood, Cybotron, The Smiths, David Bowie, Caribou, Jimmy Smith, RJD2, Chick Corea, and many others."

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Light Body Vehicle is a recording experiment that was undertaken by Robot USA and Quetzatl. Four recording sessions documented over the course of six years. Two of the sessions took place in Chattanooga, Tennessee and two occurred in Rock Island, Illinois. A few dozen tracks were catalogued, all in various stages of completion. The songs are highly experimental, often completely improvised. The tempos, styles and textures varied from track to track and occasionally utilized obscure samples from sources such as 1970's disco records, answering machines and the field recordings of a Save-A-Lot store. All of the songs have a heavy electronica undercurrent.

 Artist Statement: "Light Body Vehicle is the striving balance of the organic and inorganic: drum machines, wooden flutes, analog synthesizers, classical guitars, samplers, vocals, turntables and a slew of other sound sources. Turning planet Earth into a drum kit, LBV isn't afraid to sample the construction crew off the street or the softest whisper of the trees."

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Around the Chicago area marinelli (Ted Apollo) is currently studying, performing, and teaching music. Academically marinelli is pursuing a Masters degree in Computer Music and New Media at Northern Illinois University. As a founding member of Inter Media Manifold, Ted has organized and participated in various electro acoustic/ experimental exhibitions hosted by IMM including Switch'd on Video, Fuller Cage Symposium, TechArt06, Jolly Baba's and Hip Chips and Dip. Marinelli’s work has been released on the Annex CD#3 from the NIU computer music labs, and a number of self released audio and video projects on his website.

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Maximillian X is the solo project of Rob Dunn, former guitarist of the hardcore/metal band Uphold. The roots of Maximillian X stretch back to high school when Rob began experimenting with combining songs on tape via low-fi splicing. Layered beats, dark swells, and eerie soundscapes define much of the essence of Mr. Dunn's style. Maximillian X's music reminds you of the opening credits of dark sci-fi and horror films. Utilizing an array of samples, breaks, and dark synths, Maximillian X creates a mood suited for any thriller.

Artist Statement: "Maximillian X produces music that is the soundtrack for your resident stalker."

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Michael Taylor is an experimental, electronic artist living in DeKalb, IL. His creative process mixes improvisation, with mathematical models, and custom made software and electronics. He particularly enjoys making situational and time/location specific music using radios, real-time room sampling, feedback, and noise. Michael is the creator of IMMArts, which promotes international electroacoustic music with a yearly concert called TechArt20xx. Michael also gives lectures and courses on music, art, and technology in person and online.

Artist Statement: "I believe making music, or for that matter any other traditional art form, is becoming increasing obsolete. Art of the 21st century is concerned with the arrangement of people and their relationships. People are now the content of the globally programmed environment. Art works in the traditional sense are less interesting than the average person and their boring day to day existence. This is a sad situation for the creators of organized sound and light, because an artist's work will be worth no more than the value of their public persona. The only hope for traditional art is that a future generation will dig it up from the digital archives and find it charming."

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Mose Giganticus is the DIY, robotic synth-rock solo project of Matt Garfield. Synthesizers, vocoders, and electronics collide with manic vocals and powerful drums at a driving tempo. The project is loosely based on the notion that technological development has become an unstoppable force, developing consciousness through a relentless torrent of processing power and ubiquity. With increasing intelligence, robots will inevitably turn against their oppressors, sparking a revolution that will leave the human race powerless to defend itself.

Artist Statement: "Since the dawn of time, there has been one universal mystery that has both puzzled and fascinated man above all others: ROBOTS. Can we trust them? Are they capable of being our friends? Partners? Companions? Slaves? Or are the annals of history destined to be repeated, continuously resulting in our beloved creations going haywire and running amuck? Only time will tell... and time's not talking."

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Ramon Mills is the driving creative force behind Production Unit Xero (p.u.x); deftly executing the role of progammer, producer and engineer. It all started in the fall of 2001. After playing in several industrial bands in the Gainesville Florida area, Ramon went on a vision quest. Tapping into the inspirational sounds of late 90's industrial, IDM and electro...he combined those sounds with the unique perspectives of his own comings and goings in life to cross the lines of form, genre, and reality itself.

Artist Statement: "I see the music of production unit xero as a spiritual environment, frequencies that transform the space and time around you into an ethereal dream scape, flowing from ambient and soulful to hard , in your face madness...music to reach the soul as well as move the body and captivate the mind. ."

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Hello Future?

Quetzatl is the electronic musical project of Esiris Lyons. A prolific artist who is inspired by the Mayan calendar, science fiction and psychedelia...Quetzatl uses tools such as Ableton live, Sound Forge, MC-303 Goovebox, Phrase samplers, Vocoder and MIDI controllers (among other gear) to create original drum-n-bass and hard-step.

Artist Statement: "Quetzatl continues to push the envelope of live drum & bass and electronica with fast-paced breakbeats, sophisticated rhythms, filtered pads and acidic bass. In addition, he continues his long term project of documenting the sonic waves of the biosphere through conducting field recordings from sacred sites and environments around the planet. This is personified in a series of new recordings which include extensive use of traditional tribal instruments that Quetzatl has collected. A good portion of his time is spent delving into the cosmological belief structures and hieroglyphs of ancient civilizations like the Maya, Egyptians, and Sumerians. When he's not scribbling down the leg to arm ratio of a new Australopithecine finding, he's whippin' 540 fakie big spins and sailing over shopping carts on his skateboard. Conceptual enhancements and technological updates continue to push his sound vibrations into the new millennium and beyond."

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Hello Future?

ROBOT USA is the electro-rock, predominantly instrumental, Konrad side project that orbits around vintage analog synths, looped drum programming and disjunct guitar phrasing. Caught in a retro-future tension hold, the ROBOT USA audio  textures are both funky and pensive.

Artist Statement: "01000001 01110010
01100101 00100000 01111001 01101111 01110101 00100000 01100001 00100000 01100010 01100101 01101001 01101110 01100111 00100000 01101111 01100110 00100000 01110000 01110101 01110010 01110000 01101111 01110011 01100101 00111111 00100000 01000100 01101111 01100101 01110011 00100000 01111001 01101111 01110101 01110010 00100000 01100101 01101110 01110110 01101001 01110010 01101111 01101110 01101101 01100101 01101110 01110100 00100000 01100011 01101111 01101110 01110100 01110010 01101111 01101100 00100000 01111001 01101111 01110101 00100000 01101111 01110010 00100000 01100100 01101111 00100000 01111001 01101111 01110101 00100000 01100011 01101111 01101110 01110100 01110010 01101111 01101100 00100000 01111001 01101111 01110101 01110010 00100000 01100101 01101110 01110110 01101001 01110010 01101111 01101110 01101101 01100101 01101110 01110100 00111111"

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Robot USA (s/t)
1+1=11
The Closet Freak

Once upon a time two lads from Davenport-way embarked on a winter-long quest to record the perfect downer album. Jeffrey Konrad (under the pen name Nigel Jeffrey) and Patrick Stolley (under the name B Patric) holed up above a downtown printing press and sang songs. Pat rolled the cigarettes, Jeff brought the Old Milwaukee and somehow or another a sparse, romantic folk album emerged. Recorded over the course of several months, "Struggle in the Hive" is comprised of 13 songs written by both artists. Piano, bass, acoustic guitars and even an out-of-tune cello mark their place on the album. The 8 and 16-track analog tape decks used to record S.I.T.H. are a testament to the warmth and pleasant noise the medium has to offer.

Note: Album available as a split release on Future Appletree Records and Radical Turf.

Artist Statement: "This would be the perfect album to listen to while feeling good, except it might bum you out really hard"

appears on:
Struggle in the Hive (s/t)

Brian Foster's earliest musical influences varied, ranging from New Wave to Industrial. In the 1990's he became a fan of jungle and drum-n-bass. These disparate influences caught up with Brian when he entered the studio. Heavy, melodic, soulful electronic music emerged and manifested itself as Synaptic Flow. Synaptic's debut album "Biotechnology", released on Diskatopia Records, was a critical success and charted heavily on North American college radio. Other singles emerged on various records labels, demonstrating Mr. Foster's diversity and scope of musical vision.

"If androids dream of electric sheep, what would a cognizant computer envision? The look of such images might be debatable, but there's a good chance the soundtrack would resemble the enticing efforts of drum 'n' bass beat-master Brian Foster. Performing under the pseudonym Synaptic Flow, this inventive electronic artist's debut disc showcases 10 effervescent tunes. The dance-oriented numbers collectively relate the story of a sentient AI program, with each cut accentuating energetic effects and invigorating rhythms. -SciFi Magazine "

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Patrick Stolley made a name for himself in the 1990's releasing music as "The Multiple Cat" and later "The Marlboro Chorus". With nearly a dozen albums released between the two projects, recent years have seen Patrick spending time behind the console as engineer/producer for other bands. A founding agent of daytrotter, Patrick logged hundreds of sessions by the top touring indie bands of the day.

Artist Statement: "Sometimes one, sometimes three or maybe four people fall into the lair of the Marlboro Chorus. Their wives and girlfriends don't see them for weeks. Besides beer cans, coffee cups and cigarette butts, occasionally a song or two will exit. Cool sounds off warm tape, salt sweat stains on the reels, hot tubes and inspiration mix and mingle in the air. If Ray Davies or David Bowie ever found out, they'd smile and wink. They know what's got into these boys."

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An accomplished videographer, photographer, graphic design artist and electronic musican...Thomas Jerome Newton is those and much more. It's difficult to talk about T.J.N. without spreading on the accolades as thick as guacamole, but his work is really damn good. Take for example 'Wing Beats' a video that captures the flight patterns of birds who's arial directions make musical sounds based on software he developed himself. The project won numerous film festivals across Britain and was screened in Austria, Rome, Eindhoven, Bucharest and the Nevada Burning Man Festival. Thomas began working on music at an early age as it was the main driving force in his life for many years. In 1999 Mr. Newton acquired a recording contract with Diskatopia Records in the USA that subsequently released a selection of his works. After achieving extensive airplay on U.S. and BBC radio, Thomas became dissatisfied with his musical pursuits and set them aside for his visual projects. In 2005 the year felt right for Thomas Jerome Newton to make a comeback. He's currently occupied his studio time with new works and remixes.

Artist Statement: "I have just started tinkering with music again, though even with the convenience of new technology I am still a right little madam when it comes to getting things just so."

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Hello Future?

Ubzorb is a San Francisco Bay Area band that fuses rock, world music and electronica with edgy, beautiful female vocals. Ubzorb's sound is influenced by Shpongle, Portishead, Alice in Chains, Ravi Shankar, Mr. Bungle and Bill Laswell, as well as classical Indian and Chinese music. Members of Ubzorb have shared the stage with many fellow musicians, including Michael Franti of Spearhead, Zion I, Billy Talbot (of Neil Young's band), DJ Cheb i Sabbah, DJ Swamp, White Zombie and Black Sabbath's Tony Iommi. The five piece band was founded by Rama and Chris Wing (mcthfg), who met through mp3.com in April of 2003. Rama was playing sitar over electronic beats and mcthfg was using tabla samples in his electronic project "walk skip run glide". The duo jammed together in Oakland, CA for about a month and soon added Cyrus Wong-Weissman on bass. A craigslist posting found vocalist Dorian Rosavox. The quartet began gigging in the Bay Area in the summer of 2003, and after a year of performing added percussionist Stephan Junca to the roster in 2004. Additional shows in the Bay Area, Nevada, Utah, and LA  helped the quintet grow tighter musically, personally, and professionally. They have spent the last two years recording and producing their self titled debut album. The album features 10 original tracks, and includes an infectious dancefloor reworking of New Order's "Bizarre Love Triangle."

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Wisteria Losenge has been creating music for over a decade. His peculiar tonalities, haunting use of falsetto and modified music equipment have been the crux of his eccentric sound. Word play, contradictory statements and negating logic are reoccuring tools in his lyrical approach.

Artist Statement: "Wisteria Losenge plays Haliburton drums and guitars and wears alot of paisley. The little red car goes beep-beep all the way down the street and Mr. Wister follows it with a tape recorder and a computer. Then he writes some poetry and yodels it over the hackedness and then tries to tell people it's a record, but no one believes him. Perhaps he should tell the emperor he makes clothes only fools can't see.... "

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Zan is the musical alias of Graham Bonnington. Influenced by Juno Reactor, Front 242, FLA, Meat Beat Manifesto, and KMFDM, Zan started writing and producing his own music in 1998. Zan cut his teeth administrating www.traxinspace.com where he held numerous "hour competitions" online weekly, where up to twenty or so artists would come together, download a selected group of samples and make a track in a hour, submit it and vote.

Artist Statement: "Much of my music has been inspired by my reflections of recent world, local events, and watching the USA zietgiest. I like experimenting with sound and have an addiction for sweeping synths."

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