Real Space Noise members Chad Blinman (programming, voices) and Steve Ashburn (keyboards,
guitars) fuse indie rock with new wave, industrial music, and science fiction film soundtracks--creating a
post-modern, retro-futuristic soundscape of angular electronic pop. Enigmatic and chilling, yet catchy and
accessible, Real Space Noise is the sound of an uncertain future.
Radio Method, the debut album by Real Space Noise, offers the listener a densely detailed, and often
otherworldly, sonic landscape to explore. The album's rich textures are deployed through traditional
pop song architecture and layers of synthesizer-and-guitar-driven instrumentation, forming a collection
of songs with the accessibility for radio and club play and the complexity for discerning listeners of the underground.
Immersed in the layers of Radio Method, the listener may hear familiar echoes: the seventies art-punk of
Wire and Joy Division; the new wave sound of eighties icons Ultravox and Gary Numan; the driving industrial
innovations of Cabaret Voltaire, Front 242 and Nine Inch Nails; the groundbreaking electronic pop of Curve
and Massive Attack; the retro-contemporary stylings of She Wants Revenge, The Bravery, and Interpol. Yet
the sound of Real Space Noise is not a revival of any era or style, rather a synthesis of diverse musical
elements into something new and unexpected.
Radio Method was released October 24, 2006.
Please visit realspacenoise.com
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Viva Death brings
together Scott Shiflett and Trever Keith (Face to Face), Chris Shiflett (Foo Fighters), Josh Freese
(A Perfect Circle), and Chad Blinman (Real Space Noise) in one unlikely, impractical, noncommercial
musical experiment. The cost of this ill-fated endeavor? Countless ruined lives.
The product?
Viva Death's self-titled first album, quietly released on Vagrant Records in 2002, confronted listeners
with a brash, aggressive onslaught of baritone guitars, drums, vocals and noises unlike anything ever
heard from the members' better-known bands. The unconventional sound surprised listeners and shocked critics,
but the album gradually gained a devoted following.
No one expected it could ever happen again. But against all odds, the members of Viva Death found
time in their respective schedules to return to the studio for a second album. One Percent Panic broadens
the scope of the Viva Death sound while remaining true to its baritone guitar-driven style: Tightly-wound
riffs, frenetic drums and strange noises spill into lush fields of enveloping sound, taking the listener to
unexpected places while at the same time delivering the high energy Viva Death fans have come to expect.
One Percent Panic was released Halloween 2006.
Please visit vivadeath.com
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Tate Eskew carefully orchestrates layers of swirling guitar, thunderous drums and haunting
melody with explosive bursts of noise and disorder, forming an indie rock style distinctly his own. A self-proclaimed
studio rat, Eskew labors endlessly in his own studio creating music that evokes such descriptions as "liquid flowing
through a chaotic mess of lines" and "raw, with otherworldly sounds and atmospherics."
Complex declarations for complex music.
Eskew has spent years obsessing and experimenting in the studio, programming computer software and playing guitar,
so it is no surprise that his music is constructed of stacked sonic building blocks–at times recalling the sounds
of My Bloody Valentine, Sonic Youth and Seam. With his roots in Illinois, it's also evident that Eskew is influenced
by sounds of the Midwest, as bands such as HUM, The Promise Ring and LOW show at times. Through his singular style
and studio proficiency, Eskew melds old and new musical influences into his own exceptional sound.
Eskew's debut album, entitled Semiotics, is a work of astonishing expression and ingenuity. Intricate
arrangements of guitars, distorted organ and drums frame Eskew's intimate vocals, moving from delicate finger-picked
notes to breathtaking rock crescendos, and back again. Truth and metaphor permeate the album both lyrically and
musically, reminiscent of mid-era Pink Floyd, as Eskew explores situations and signs of one's past, present and future.
Songs from Eskew's collection often start in a traditional directive but soon turn unexpected corners, later blooming
into a wash of melody and noise. Throughout every track, Eskew's obsession with refined composition and studio
experimentation shows.
Watch for Semiotics on Functional Equivalent Recordings.
Please visit tateeskew.com
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