In 2003 Lucas Patzek joined the RLR crew under the alias of Ruperto Marquez, and most recently Kossak. Previously, he produced ambient and avant-garde music beside Kush Arora, Anthony Godoy and Tobias Tenney in the groups Involution, Clairaudience and 5000fingers. At present his style can be described as a hyper-surgical, sound-design-infused minimal beat music with hip-hop, jazz, dub and eastern influences. Each individual sound is treated like a ceremonial object, and is EQed, compressed and mixed as if it were a final song. Lucas also has a knack for making entire drum-kits from scratch using tiny snippets of found-sounds. Thus far he has only graced RLR with a handful of tracks for the ‘Ghos Busters III’ and ‘Electric Carpets’ compilations, but he has recently completed a full-length album which will be released shortly.
Chris Douglas came on to the scene in 1992 with the futuristic Basilar EP, pressed by the same plant that put out a large chunk of the early Detroit Techno. In the timeline of experimental electronic music with a dance floor bent, the Basilar EP is an important stepping stone for genres that only later had names like ‘I.D.M.’
With his Background of classical music education and a love for extreme and obscure music he discovered in his teenage years, Tomoroh Hidari aka Oliver Stummer has gone electronic in the late nineties. He has produced various releases as Tomoroh Hidari and his Namelessness Is Legion, is engineer, producer and programmer for Industrial outfit Kreuzweg Ost and founding father of Dondrine Dub Developments. He has collaborated with a variety of renowned artists from all musical genres and done music to short films, theater and advertisements. Occasionally active in the media-arts, he has produced programs for ORF Kunstradio, Audio-Visual Performances with CNTRCPY and Ella Esque and the random spontaneous actionism.
Mike Dunkley is multi talented individual who can not only claim accomplishments in video and still digital art but is also a maker of very tasty electronic music. The RLR originator Robbie grew up with Mike in the small town of Pleasanton, California and exposed each other to strange and unusual music throughout their high school years. All of the early Fluorescent Grey recordings included Mike Dunkley and were mostly made using Cool Edit Pro, Goldwave and countless cassette tapes. After falling off of each others’ radar for many years, Mike and Robbie met again in early 2000’s at an audio engineering school that also had a visual department.
Emerging from the Anchorage, Alaska psychedelic noise underground in 1996, Nommo Ogo has continued as an acousmatic recording entity and a cult live act. Current operations are based out of Oakland, California. Over the last decade, live manifestations have occurred throughout Northern America and Europe, including an ongoing tradition of sonic rites performed in remote outdoor settings. The band finds inspiration in the depths of the unknown; from the ocean floor, outward to the stars and beyond.
Robbie Martin, also known as fluorescent grey, has had his hand in well-known hoaxes and elaborate pranks, the first of which was a track-by-track response to Coil’s electronic album Scatology. The parody album, released as an internet exclusive in 1998, featured friend and musical collaborator Ben Vanderford (also known as The Great White Hype) rapping over beats that were entirely based on melodic hooks from popular Coil songs.
Hiroshi Hashimoto has been recording as Contagious Orgasm since 1987. Spanning the diverse anthology of releases from his own label SSM to Ant-Zen recordings, he has now graced Record Label Records with his aural presence. Gaining popularity early on in the harsh japanese noise scene along with other artists such as Aube, Massona, MSBR, and Telepherique, Hiroshi’s sound has gone through an extraordinary evolution: from horror movie-like sound beds to abstract beat oriented electronic music and even dub.
Scorn was created by Mick Harris in 1991. Mick Harris, originally the drummer for seminal death metal band Napalm Death, first started making music with Nik Bullen. When Scorn was first formed it was a strange hybrid of sounds that were described by some as ‘ambient metal’.
Ata Ebtekar aka Sote is an electronic composer, sound artist and recording engineer who was born on September 2nd, 1972. His goal is to create unique and timeless pieces of music that are not available anywhere except in his mind. Sote is interested in keeping the tuning of Persian classical scales (Radif) and melodies from old Persian folk songs within a new electronic framework.
Brian English is a graduate of the UC Santa Cruz Electronic Music program. He lives in Santa Cruz and is the Product Specialist & Beta Coordinator for Antares Audio Technology, the company responsible for Auto-Tune 5, AVOX, Kantos, Filter, Microphone Modeler, Tube, and also the Harmony Engine (which was partially inspired by Brian). Many of Antares’ plugins feature Brian’s presets and sound design work.
The title of Kush’s first full length album, released as a cassette in 1996 under the name Involution was titled ‘Too pissed to masturbate’. He has come a long way since those days, and we are very proud of him. At age 15 Kush was pleased to find out a UC Berkeley Psychoacoustics graduate student named Chris Stecker had heard ‘too pissed to masturbate’, loved it and wanted to release a new album by Involution. Chris had a label called Ovenguard records that also put on shows called Omnimedia. This is where Kush met artists like Wobbly, Big City Orchestra, Negativeland, and Blevin Blectum.
The mastermind behind all of the Max/msp material has made availible, John Hidalgo Barne’s aka POWMOD. A software genius who owns a refridgerator size sun mircrosystems server for absolutely no reason at all. Responsible for helping reverse engineer Autechre’s patches and teaching fluorescent grey how to use max.