Robin Storey was born in 1955 in Cumbria, England. While studying fine arts at Sunderland University, he began pursuing a long-held interest in sound manipulation by taking classes in electronic and experimental composition, joining with friends to perform the works of Karlheinz Stockhausen (a key influence, as were the Krautrock bands of the early 1970s). In 1979 Storey formed the pioneering industrial group: zoviet*france:, remaining a member until 1992: The same year Storey issued the first Rapoon album, Dream Circle, its entrancing fusion of Indian ragas, African rhythms and experimental textures anticipating the evocative soundscapes of the many releases to follow. Also a noted visual artist and animator, Storey's work has been exhibited throughout the world and is in the collections of many major galleries.

Storey has collaborated widely and has produced albums with artists including Joachim Roedelius (Cluster, Harmonia), Nigel Ayers (Nocturnal Emissions) Randy Grief and Russian Folk singer Tatyana Stepchenko aka.Toloka. He has also collaborated in live work with numerous other musicians including Damo Suzuki (Can). As well as producing his own abstract animated films he has also produced work for soundtracks for Independent films including Randy Grief's award winning film “the Three Trials” and award winning film by NY independent artist Nadine Shamounki with her film “Effaced.” Storey has also produced two best-selling sound loop libraries for Sony Media and has had his work used for TV advertising.

Mark Spybey was born in North Yorkshire, England in 1961. After leaving :zoviet*france: he moved to Canada and worked under the names Dead Voices on Air and Propeller. He collaborated widely, toured and was vocalist of the acclaimed band Download (ex-Skinny Puppy). He was also a member off Sofortkontakt!, led by the late Michael Karoli of Can, appearing at all of Can’s 30th anniversary shows.

Spybey has worked with a variety of artists who inspired his music, including Damo Suzuki of Can, Faust, Michael Rother (Neu!, Harmonia and Kraftwerk), cEvin Key (Skinny Puppy,Download), Mick Harris (Scorn, Napalm Death), James Plotkin, Not Breathing, Jarboe (Swans), Chris Connelly (Ministry, Fini Tribe), Pigface, Martin Atkins (PIL, Killing Joke), Dieter Moebius (Cluster and Harmonia), Simon Fisher-Turner and Genesis P-Orridge (Throbbing Gristle/Psychic TV). He returned to the U.K in 2000.

He is currently a member of a number of other bands: Beehatch with Phil Western of Download and MzMz LaLaLala with Simon Fisher-Turner. He has worked with a variety of labels including Kranky, Lens, Nettwerk, Invisible and Soleilmoon.

Reformed Faction feel drawn to create music that honours the process of spontaneous composition, favoured by Can. Using live improvisations as a basis for their music, Reformed Faction cut and paste, in the grand tradition of studio pioneers such as Holger Czukay of Can to create compositions. At the heart of the sound is the use of unconventional sound sources; children’s musical toys, ethnic instruments, homemade gadgets and sound processors. Bagpipe chanters, flutes, stringed instruments, percussive instruments and the effected tones of the human voice are all utilised. Over reliance on the detached and distant excesses of technology creates stagnant and purposeless music. This is visual music; made by the human hand, drawn by breath.

Robin Storey and Mark Spybey are pioneers. Their contribution to the development of the ambient music genre is well noted. The band released their debut cd, “Vota,” on Klanggalerie Records in 2005. Their second album, “The War Against…” was released on Soleilmoon Records in 2007. They have played live in both Europe and North America in 2009 and released a lavishly packaged triple album, entitled “I am the source of light, I am not a mirror,” for Soleilmoon Records in the same year. The album “Until,” was released by the Italian label Greytone in January of 2010. In the spring of 2012, Soleilmoon released a new double album, “The World Awake/12 Stueck” and they also re-released both “The War Against,” and “I am the source of light, I am not a mirror.” At the same time, incredibly, two new albums were released. The cd, “Years of Lighting, Day of Drums” for the Russian label, Ewers Tonkunst was coupled with a special double cd art version featuring “the Partisan and his Dog,” a live recording from recent concerts in Russia. This was closely followed by the double cd, “MIKROcomposer series volume 1,” for the Hong Kong based label U.M.P, again in a lavishly packaged art edition.  
 
Andy Eardley, who was also a member of :zoviet*france: was part of Reformed Faction until July of 2006. He has now left the project.

For 30 years now Storey has been releasing music recognized worldwide as innovative and influential. Firstly as a founder member of the groundbreaking and much lauded band Zoviet France and latterly as the solo multimedia artist and collaborator Rapoon.

From 1979-1992 Storey was a co-founder member of Zoviet France and was personally responsible for much of the music and imagery associated with the band during the period that is seen as their most productive and influential.

From 1992 to the present day Storey has released a huge back catalogue of recordings and gained an international reputation as an experimental artist/musician in his own right.

Storey trained as a fine artist from 1973-1977 and gained his degree: BA hons: Fine Art from Sunderland School of Art in 1997. (Despite this being a fine art degree Storey also managed to study and train as an avant garde composer during these years under the tutelage of Dave Pinder, a contemporary modernist composer. He then trained and eventually taught, as a printmaker and graphic artist at Charlotte press workers co-operative in Newcastle Upon Tyne.(1977-1989) Graphic art and printmaking were defining elements in the early Zoviet France releases which included hand made sleeves with strong graphic imagery. From 1979 to 1994 Storey worked as a full-time and freelance audio/visual
technician for local AV companies . During this time he learned skills such as rostrum camera work , video editing and slide animation . All of these skills were transported into his own visual work and incorporated into his artistic output. From 1979- 1994 Storey exhibited his visual work widely and internationally. These included touring exhibitions of the former USSR and the USA.

Post 1994 Storey concentrated on his musical output and has to date released almost 50 solo recordings as Rapoon and numerous other collaborations and side projects including Reformed Faction with Mark Spybey and Hank and Slim with Nigel Ayers.

Other work includes a couple of best selling sound design loop libraries for Sony media and music for soundtracks for a number of independent films including award winning films by Randy Greif "The Three Trials" and "Effaced" by Nadine Shamounki.

Currently doing the soundtrack to independent film “Boring”. In 2003 Storey returned to University and in 2004 attained a Masters Degree in Creative Music technology at Newcastle University. After attaining his Masters Degree Storey has returned to his visual work and released his first full length DVD in 2005 and continues to paint. More recently Storey has begun to collaborate again with dancers and has had two productions in 2011 with dancers Johanna Devi and Eva Balzer. Storey both wrote the music and produced the visuals and video art for these performances which were in London and Berlin.

More productions are planned in the near future.

Xiphoid Dementia is available for live shows, please get in touch with Existence Establishment for inquiries.

“With Corephallism ... channels the inner demons and twisted conflict of both soul and psyche. Electronics and noise evoke moods and conjure thoughts of someone about to commit a vile and violent act with no explanation or apology. A piece of music that can evoke such strong and dark imagery is either the work of a genius of no commercial potential, or someone who needs to be locked away” – The Noise Boston

“It is very rare to come across an artist who is in possession of his own singular sound. Mark Spybey and his Dead Voices On Air project have produced some of the most consistently interesting music that I've ever heard. Veering anywhere from dark ambient sound-scapes to atonal rhythmic washes”.
“Shift” Japan

“Mark Spybey is a genius, if a maddening one”
Real Detroit Weekly

“Spybey’s manipulation of sound is inspired.”
Mike Barnes, Wire

Spybey started his career in the North-East of England with Zoviet France in the late eighties before moving to Vancouver. It was here that Dead Voices On Air were formed. Spybey also worked under the name Propeller and was an original member of Download, who included members of Skinny Puppy. Spybey was the voice of perhaps their most successful release, “The Eyes of Stanley Pain,” in 1996. After leaving Download he started a series of collaborations, appearing on over 50 albums in a five-year period. He was part of CAN guitarist Michael Karoli’s band Sofortkontakt! and appeared at all of the Can 30th anniversary shows in 1999. Spybey was a close friend of Michael Karoli prior to his death in 2001 and had toured with him as part of legendary CAN vocalist Damo Suzuki’s Network in 1998 in North America, appearing in the German TV film by Peter Braatz, “On the Air.”

Spybey has recorded and played live with numerous collaborators including Faust, Michael Rother (Neu!) and Dieter Moebius (Cluster), members of The Legendary Pink Dots, Mick Harris (Scorn, Painkiller, Napalm Death), Jarboe (Swans), Simon Fisher-Turner, Richard Sanderson, James Plotkin (Flux, Old, Scorn), Robert Hampson (Loop/Main), Jochen Arbeit (EINSTÜRZENDE NEUBAUTEN), Darryl Neudorf and Sugarpill (Abintra), Not Breathing, Pigface, Martin Atkins (Pigface, Ministry, Public Image Ltd.), Spasm, and Genesis P Orridge. He has worked with a number of record companies, including Kranky, Nettwerk, Invisible, Soleilmoon, Lens and Tourette Records.

Spybey formed the band Beehatch with Phil Western of Download, who released two albums for Lens Records in 2008 and toured Europe. In 2004 he formed Reformed Faction, a duo with founding member of Zoviet France and Rapoon Robin Storey. The band have released six albums, including “I Am the Source of Light, I Am not a Mirror,” a triple cd for Soleilmoon Records and have played live in both Europe and North America. Over the past two years Spybey joined with his ex-colleagues from Download, cEvin Key and Phil Western for a series of concerts in the USA, Canada and Europe.

It is his work as Dead Voices on Air that perhaps most accurately defines the essence of his sound and the techniques that he has developed in a career spanning more than two decades. In the mid nineties, he released five Dead Voices on Air albums in a three-year period, whilst also recording the first two Download albums,
two Propeller records and a dozen collaborations with other artists. Following the release of “Piss Frond,” (“the most cohesive product I could ever imagine,” Ink Nineteen) he toured extensively. A live album was followed by “From Labrador to Madagascar,” in 2007. Lens Records released the album, “Fast Falls the Eventide,” in September of 2009, a double cd set. Late in 2009 he released a vinyl only album for Russia’s Brudenia Records, “The Light of June Drowned Flowers in Your Mouth,” closely followed by another vinyl release “The Silent Wing,” for Houston’s Tourette Records in March of 2010. He also released another Dead Voices on Air album for Lens Records in the same year, ”From Afar All Stars Spark and Glee,” featuring Phil Western and Serbian/ American singer Ivana Salipur. In 2011 he released the cd “Michael and the Angels Fought,” featuring a host of collaborators including Salipur, Phillipe Petit, the cellist Bela Emerson, Robin Storey and Michael Page of Lens Records band Sky Burial. He is also undertaking an ambitious series of 7 inch single releases for Tourette Records to mark the 20th anniversary of Dead Voices on Air, each featuring a different collaborator, including (amongst others) Simon Fisher-Turner, Robin Storey, Edward Kaspel of The Legendary Pink Dots, Not Breathing, Robert Hampson, Troum and Jochen Arbeit of Einstuerzende Neubaten. In 2012 he released “Mawson’s Will and Other Stories,” a full length cd for the Russian Ewers-Tonkunst label which also featured Robert Hampson of Loop and Main.

Village Voice referred to Dead Voices on Air, as an almost medieval drone, “If most ambient is the laudanum of the new fin de siécle, then Dead Voices on Air are the absinthe." Spybey continues to make music with real instruments; rhythms cultivated by hand from his love of ethnological music and the usual array of grainy sounds and effected vocals. He describes it as “music for the eyes.” “Spybey works hard at his art so you don’t have to: rather, as the listener, the participant, the absorber, it’s more important you ignore such now pat genre appellations as “industrial”, “ambient”, “soundscape”, et al, and instead gorge deeply on a wriggling, prickly, sometimes confrontational puzzlebox of sounds”. Darren Bergstein.

Since their first full-length release in 1983, Controlled Bleeding have released over 30 albums spanning several different genres, many of which were released on notable independent labels. Their cross-genre approach combined with the out-of-print status of many of the group’s releases is reminiscent of the work of other experimental and cross-genre groups of the 80s and 90s such as Coil and Swans. Controlled Bleeding’s latest release is titled ODES TO BUBBLER.

After releasing several albums on their own following We Know Pain, TERRORFAKT was signed to Tinman Records and released the album Deconstruction in 2003. The album was a huge club hit in the United States as well as in Canada and the band attributed this success to the loyal DJs who enjoyed the album and played select songs from Deconstruction over the airwaves. In order to build up a strong fan base, TERRORFAKT has been touring relentlessly, performing over 150 times in the U.S. and Canada since mid 2002. The band has opened for such bands as E-Craft, Das Ich, Funker Vogt, Manufactura, Inertia, Haujobb and Hocico. The band's success has enabled them to remix material for numerous bands including P.A.L., E-Craft, NeikkaRPM, Crocodile Shop, Das Ich, Poitive Complex, Wumpscut, Dubok, Massiv In Mensch, Mindless Faith, UV, DYM, Inertia, and GASR to name a few.

TERRORFAKT returned with their second release on their new label, Metropolis Records. Released in August of 2004, Cold Steel World contained brutal rhythms designed to turn any dancefloor into a warzone like frenzy. TERRORFAKT's Metropolis debut, Cold Steel World, was one of 2004's greatest sleeper hits. For the first several weeks after the album's release, the label had difficulty keeping it in stock. The band also played over 70 live dates in 2004 alone! For 2005, TERRORFAKT presented the world with a remix CD packed with over the top remixes and five tracks not on CSW. Cold World Remixes plays smoothly from start to finish like a new studio record thanks to help from the remixing talents of Imperative Reaction, E/Craft, Angel Theory, Cervello Electronico, and Life Cried. This release will tear you up and spit you out.TERRORFAKT’s second album on Metropolis, Teethgrinder, was a myriad of torment, anger, confusion, hatred, and pain. Aggressive is too mild of a word to describe the pummeling beats, explosive rhythms, critical state melodies and self-destructive tempo. With the most raging album released in 2006, TERRORFAKT reached unprecedented levels with the seething Teethgrinder.For 2009, TERRORFAKT presents: Re/Evolution. A looking forward /looking back type of release in the respect that it features some classic out of print TERRORFAKT material remastered, in addition to a few songs that were never "officially" released, as well as some new remixes and some new studio material. While this may satiate the longing for a new studio album, Re/Evolution can stand on its own as one of TERRORFAKT’s best releases.

In the 1980s mulitmedia artist David Linton started working as a musician and he still identifies with this idea, creating audio-visual compositions through oscillators, shiny dime store objects, and projections. His kinetic pictures and sound simultaneously co-create, maybe recalling his roots as a drummer. He is known for his wired solo electro-acoustic drumkit performances, or for producing Detroit and UK inspired techno experiments, including his 1986 solo LP Orchesography, which became an influential collusion of ‘early’ sampling tek with street beats and theatrical postmodernism.

What emerges after years of beat making in one form or another is an artist whose name is properly draped in a sense of underground reverie as his explorations continue to expand appreciation of beats of sound and vision and the space where those two meet, collide and hypnotically do it over and over again. The Bicameral Research Sound and Projection System, which David began in 2004, can be found touring the US and internationally. If sound and vision journeying is your call, we suggest you journey with him as he continues to expand realtime performance through the creation of intricate environments such as his classic SoundLab (1996) or still current, UnityGain (1997-present) and its Manhattan cable and webcast project UGTV (UnityGain Television), where David is producer, director and occasional performer.

David’s live performances span the history of the downtown experimental scene, from a grittier New York alongside other musicians such as Lee Ranaldo, Rhys Chatham, Glenn Branca, Elliott Sharp and others, to the present at Issue Project or many other performance spaces where he can be spotted collaborating and improvising. To have worked with David Linton confers a type of legitimacy on those younger New York artists who revel in the rigors of micro-sound and the hypnotic pulsing of fractals. In that sense he’s often claimed by VJs and DJs equally, and other just out of art school hopefuls who far from avoiding the feedback loops of the future are finding in them a whole new kind of mercurial, vibrational magic.

Brian Kane is also the creaor of Meat Water, You Tube Doubler and VuJak, the world's first midi controllable video sampler which was designed for use by Emergency Broadcast Network (EBN).

In the early 70's he began dj'ing and exploring audio 8-track recording experiments. By 1976 he began playing bass guitar and in 1981 he joined the New Jersey punk band Public Disturbance. This happened simultaneously as he was honing his skill as a hybrid collage dj / turntablist.

Winter 1985/86 brought about the creation of Abstinence, New Jersey's first industrial music/art project in the vein of Einstürzende Neubauten, Sisters of Mercy, and Skinny Puppy. Hell was instrumental in nurturing a hardcore industrial scene in New Jersey.

Hell began working with video in the early 1980's. The current video production partnership of s6k Media and Wolfgang Busch Digital Video Prods. began in 1991.

In the early 1990's Hell was granted the privilege of heading the Silent Records (San Francisco) industrial imprint Furnace Records under its highly imaginative leader Kim Cascone. Hell, along with the technical leadership of David Grau and Rob Psychotrope, created an American industrial label that explored a broad spectrum of global industrial / experimental music culture. David Grau [with Sheldon Hatch] led their team in bringing Hell's vision to fruition; create one of the first online record release parties...in 1995.

In 1996, the call came from Emergency Broadcast Network for Hell to join forces with them. [EBN were the creators of one of the first midi-triggered video sampling systems.]

1999 - 2001, Hell was Director of Acquisition for Urban Box Office, under legendary ex-Motown bossman, George Jackson and technical visionaries Tyrone Thomas and Jonn Nubian.

2002 - 2011, Hell was facilities manager / technical director and co-founder of chashama arts, NY, lead by artistic director Anita Durst.

Hell is currently one of the only industrial / experimental turntablists in NYC. In winter 2012, Abstinence will celebrate its 25th anniversary of their first studio recording "Level 7," with the release of a 2 disk [1 dvd & 1 cd] aluminum box set entitled, "Delusions of Architecture.

Hell also works as a teaching artist, creating web-enabled curriculum and community empowerment programs with his organization, Purpose Lounge, the social empowerment arm of sektor 6 kommunikations.

Peter Lee was also the host of one of North America's longest running annual industrial festivals, the Providence Industrial Fest.

 is a founding member of the group Negativland, who, since 1980, have been creating records, video, radio, live performance, and hoaxes, using appropriated sound, image and text. They have been sued a few times for their work, and emerged as outspoken artists and activists around issues of collage, appropriation, and copyright law. 

Mark takes a break from his Negativland duties to perform live and solo for the first time in his 32 years of making music. Using a performance set-up built around various homemade one-of-a-kind electronic noise making devices (including two of Negativland's famous "Boopers"), Mark creates an engaging and musical soundscape performance with devices that are intentionally unstable analog feedback boxes that create a non-linear dynamic "living" system of sound to interact with. It ends up being a performance dynamic where the musician is less a performer than a fellow collaborator with the devices, encouraged to converse instead of merely transmit. The Boopers used in this show go way back to 1975, when Negativland founding member  David Wills created the first one, adding multiple transistors to a simple FM radio receiver, and sending its output back into its input.  Various knobs control the amount of signal through the transistors, but the sound that emerges remains wildly variable, and incredibly fun to listen to. Using multiple Boopers (all based on Wills's original design) and other homemade electronics as primary sound sources, Mark manipulates and augments the raw sound sources into a choral rainforest of pure electronic ear candy, erasing any easy distinction between the machine and the human. He may also rock out a little bit, too. Recent performances of this show at the Stanford Electronic Music Center, Cafe Oto in London, and the Pompidou Centre in Paris, have been very well received.

Take Earth Wave Surf Electro Bass Tropical calypso Dubstep Broken Noise Grind, IDM Folk Glitch, Breakcore orchestral Gabber, mix them all together and what you get? Otto Von Schirach and a magic super nova of sound waves. Otto began touring with a super dynamite Occult Space Age theatrical show, He gained buzz across the planet, nebula, and beyond. This Bass Warrior landed thousands of concerts around the globe, and began to work on projects with Venetian Snares, Skinny Puppy, Modeselektor, Blowfly, Miss Kitten, Cevin Key, GUT, Doormouse, Debbie D, Jose El Rey, and many more. The Audio Mania struck deals all over earth, one with Mike Patton’s Ipecac Records & a unique 4 GB Sound Library for Fixed Noise and Native Instruments entitled “OTTO”.

As a Miami Knight and leader of the Sound Barrier he was crowned King of the Bermuda Triangle. With his new title he started the Triangle Family with Mr. Feather and Alligator Jesus as well as the record label, TRIANGLE EARTH.
In the recent years Otto has become more involved in the professional art world via FriendsWithYou and experimental fine arts group TM Sisiters. His compositions for video artworks have been exhibited and purchased by museums and galleries across the Americas. Otto has also flexed his acting muscles by starring in the B film Death Print created and directed by Aiden Dillard. Currently working on collaborations with Blowfly, Venetian Snares, Dino Felipe & Cevin Key & a long awaited solo record in 2011

Influenced by 80s Industrial and 90s Electronica, the project's inception in 2001 contributed to a new underground scene growing in the New York City area. Several demos and self released EPs were sold and openly distributed throughout the internet before the act landed it's first live show supporting Manufactura and Terrorfakt in the spring of 2004 at NYC's legendary Albion night. 

Since 2004, Cervello Elettronico has been experimenting with dance beats in front of audiences all over the world in new and interesting ways sharing the same stage with various musical acts as Meat Beat Manifesto, Esplendor Geometrico, Snog, Haujobb, Noisex, Terrorfakt, P.A.L., and Combichrist.

Into grind/crust/metal etc for a long time. Got into crazy breaky stuff (jungle, "breakcore" etc) around 97, 98. Started to work on computer music around 1998 a tiny bit while playing in the Pittsburgh band Fate of Icarus. Got more into working on it when that band broke up in 2001. Between then & now I've played in Japan, Belgium, the Netherlands, UK, Ireland, Germany, Austria & The US. Put out releases on Cock Rock Disco. Collab Remix of Agoraphobic Nosebleed (done w/ Xanopticon) for PCP Torpedo CD rerelease on ..Hydrahead...."Dismal Universe" on ..THAC0 Records comp 2x12"/2CD set.... "E Boyz Revenge" 12" EP - on ..Violent Turd (US)....split 7" w/ LFO Demon on ..Sprengstoff Records (Germany).. ltd. to 300....split 7" w/ Duran Duran Duran on Omeko (Japan)....track on v.a "Carbon" comp on ..Mirex....track on "Bricksmash" comp on Dross:tik..track on v.a. "Paws Across America 2003" CD on ..Tigerbeat6....guest "drum solo" on End "The Sounds of Disaster" album on ..Ipecac....bunch of tracks on CDR comps....Coming Soon:..12" EP On CRD/Death$ucker..track on MachineDrum pt 2 comp on Relapse...remix on Duran Duran Duran's next album .... some more stuff I can't remember right now ....

Each Live Shift is different from the others, though some sounds may be recycled. The detritus of Industrial, Noise, Breakcore, Hardcore Techno, and freeform Experimentalism are crushed into something else using mostly obsolete equipment.

Besides several compilation tracks for labels such as ANNIHILVS and ABANDONMENT, Recorded Documents have been released by WORTHLESS RECORDINGS and OUT-OF-BODY RECORDS. A special limited Document will be released at the Festival on 11.04.12.

As one of the founding members of Shotgun Flu and the Woonsocket Noisecore scene, Jay Fragile (Audio.Slab) began playing in Providence RI in the early 90's amidst such favorites as Lightning Bolt, Six Finger Satellite, Thee Hydrogen Terrors. Over the years has played in many different incarnations of the original band as well as dj'd notably under the name Dead By Mourning quite extensively. After taking time off he is back to stay with a new project called Audio.Slab. Audio.Slab is a mixture of audio/visual and 4 specific projects representing his distinct interest in music that sometimes have a tendency to blend together. On any given night you may hear harsh noise made by hand built repurposed circuit bent electronics/ 8-bit Grindcore/ or Breakcore that ventures into some pop and even dance jams. Audio.Slab thrives off the energy of his audience and holds nothing back in return for what he receives from the room he's playing. The focus of the music/imagery is to captivate the listener and indoctrinate them into a world of madness until the point where the listener has no choice but to let it take hold of them and embrace the ride. Past shows included shows with Baseck, Wet Mango, Blue Sausage Infant, Violet, Blevin Blectum, Going Public, Funerary Call, DJ Skull Vomit, Encanti, norajean, Xiphoid Dementia, Freida Abtan, Eat Cloud, Double Awake, Kintaan, Soft Target, Jesus the Impaler, Jeff Surak, The Vomit Arsonist, DJ Two Oh, MDMAchine, DNA, Ordnance, Pine State Mind Control, Holzkopf, DJ Meltdown, Cheezface, Balls Deep In The Dead, So So Gutter, norajean, Mark Lord (formerly Kites), Ragnorok, Alexei Borisov, Olga Nosova.

Chances are, if you are seeing a Journey to the Center of the Colon show, you are likely seeing one of the most bizarre shows happening at that moment on the planet.

Enjoy.

"Robert Galbraith,  previously known for his darker strands of electronics as Codec and the label operator behind now defunct Component Records now reverts to his roots as Raab Codec. Taking elements from a handful of genres including electro,  dub,  post-industrial,  acid,  drum’n bass,  dubstep,  experimental and a slew of analog synth noodling. Bridging mid-90′s melodic pulsars tied to current-era data processing,  the whole package feels as raw as it’ll ever get. Diving into each track would be an exercise in futility as they’re essentially soaked in the above-mentioned genres and yet somehow manage to piece themselves together like ashes falling in the night sky. So as these mechanically enriched slabs of utter bass,  beat and danceable grooves slither above leftfield terrain,  Raab Codec ensures a smooth landing. " -Igloomag.com