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Illusion Of Safety: Rules
Of The Game 3" CD
Amiable sonic terrorist Dan Burke has assembled a very fine megasample
sound collage for eM 13n's series of 3" discs. "Rules Of The Game"
is all over the map with an interesting mixture of noise, rural
and urban sounds, commercial voice-overs and a variety of other
people's music. The majority of the piece is comprised of somewhat
subtle, neo-ambient and mid-dynamic multi-layered drone passages
that are punctuated with bursts of noise and music samples. Intensity
reaches a few savory peaks, especially if you listen to this on
headphones in the dark... an experience you may well deduce I've
encountered. As compared to other IOS material I've heard, "Rules
Of The Game" is a bit easier on the ears. I'm not trying to make
a judgement call, just letting you know the magnitude of the blast.
Hey, be careful out there. [eM 13n] Mike Trouchen
Illusion of Safety Inside
Agitator (Complacency)
The Chicago area's prime Noise-ician's new release is another in
a never-ending series of uncompromising and exquisitely-crafted
tonalities. Anyone familier with the previous releases from these
reigning Kings of Pain will find this CD to be more thoughtful and
conceptual than other offerings. The title refers to a favorite
theme of founder/leader Dan Burke, namely, a ghastly glimpse into
the aberrations of the human psyche. This collection of half-rhythmic
beat/collages and half ambient-noise reflect the dichotomy within
us all: the age-old struggle between the violent and the sublime,
the Dark & the Light. The ambient passages represent the internal
aspects of the subconcious mind, whereas the rhythmic/sound-bite
passages refer to the outwardly negative manifestations of the conscious
mind. Differing from most I.O.S. releases, this CD is more statement-orientated.
Meant as sort of a follow-up to their earlier release. In 70 Countries
(which is an audio analysis of state-sponsored torture around the
world), Inside Agitator is a conceptual excursion into Burke's degree
in Psychology. Though the level of difficulty in I.O.S.'s oeuvre
keeps their local following relatively small, these seasoned experts
have been in business for nearly 10 years and have released dozens
of cassettes, LP's and CDs. They have toured the U.S. and Europe
numerous times, recently playing to a national radio audience in
Switzerland on their last Europ-tour. Exceptionally gifted within
the genre they work, their unusual 'music' is an acquired taste
and not for the faint-of-heart. Scott Marshall
Illusion Of Safety
Historical
Previously released as a special-edition (read:expensive) box, this
unusual example of ambient (read: expensive) box, this unusual example
of ambient industrial is now accessible to the general public (read:
affordably priced). Either way, the music is unusual in that it
provides ambience as the term is truly defined- "the distinctive
atmosphere surrounding or suffusing a person, place or thing" -avoiding
the mistaken idea that ambience softly blends into you, rather than
pulling you in. True to its name, the band pulls you into an illusive
world: The second you have ground to stand on, it's yanked away.
This nebulousness makes the record thoroughly disconcerting, the
sounds a mixture of electronic noises and samples sparsely interspersed
with deadly tales of torture and deviance. Importantly, this record
strikes a balance of power and originality essential to a truly-innovative
and entertaining record in any genre. Historical is not all loud
noises and pensive jerks - each idea flows with the next without
obvious, overtly fluid transitions.Illusion Of Safety creates spaces
only to destroy them without hesitation, giving its concept of ambience
a disturbing presence. Christina Zafiris CMJ 02/05/1993
Illusion Of Safety
Water Seeks Its Own Level (Silent CD)
A bit of a coup for IOS, signing to Silent for this release. In
MFTEQ "Water..." was advertised as the "shimmering tranquil drones
in the style of the Hafler Trio". Hmmmm, that's not one hundred
per cent accurate. The PR side of an ambient label getting a little
carried away methings. Parts of these eight tracks are tranquil
drones, but being IOS the tranquility is often shattered by massive
noise blasts and high-pitched buzzings. There's nothing IOS like
more than lulling you into a false sense of security, then, BLAM!!
Jim O'Rourke is involved, hence 'Scratching the Surface' could be
an outtake from his "Disengange" release - pulsing digital points
and sparks - a bug placed in the heart of a telephone exchange system.
IOS have developed their schizophrenic talents with each release,
"Water..." is good old industrial atmospherics, and if those in
the world of ambience take it under their collective wing then who
can blame them? Watch out for three new IOS CDs and a new side-project
LilyCrusher in late 1994. MFR (MFTEQ 10)
Illusion Of Safety
The Banishing Ritual [Complacency 7"]
Recalling the excellent rhythmic sections of "Inside Agitator" IOS
return with two solid mixes. I suppose you could call this a concept
single as the sleeve notes are a detailed lesson in performing "The
Lesser Banishing Ritual of the Pentegram." IOS have always been
completely disinterested in current trends, hence their work is
always a safe bet to be totally different. No sub-FLA dross here.
IOS still capture the industrial ethos of old-mechanized, humming
beats. But there's something about them... they still kick ass.
MFR (MFTEQ 10)
Illusion Of Safety
Historical (Staalplaat)
I'll put my conclusion first: Historical is an astonishing piece
of work. I was glued to my stereo for the entire 56 minutes the
first time I listened to Historical. It made me wonder why I had
never looked into Illusion of Safety before that moment. After the
opening elector-metallic noise collage, "Historical Pt.1", I.O.S.
dives into richly textured world of menacingly dark ambient noise.
Shards of noise punctuate the ambient sound taht reaches the highs
and lows of tghe audio spectrum. If you use high volume while listening
to this, then don't be surprised if you damage your stereo. The
sound range is that extreme. A shocing piece of found dialogue about
torture and human atrocities anchors the composition, "Historical
Pt. II." This song is infinitely more terrifying than the cartoon
and terror used in most forms of industrial music. Its so real taht
it renders most attempts at horror, terror and schock value absolutely
pointless. The accompanying music compliments and supports the tale
being told so strongly that if you aren't moved to shake your head
in disbelief, you had better check your pulse and your conscience.
The rest of Historical continues like this until the fianl song,
"Musicfuk II." This song revisits the collage and noise manipulation
of the first song and brings the entire collection to a clear and
satisfactory conclusion. Once again, Historical is an astonishing
piece of work.
Illusion Of Safety
Finite Material Context (Complacency)
For such a prolific group -- and one with a constantly luctuating
lineup -- IOS consistently deliver excellence. This tape compiles
solo tracks from individual members, and though diverse, it shows
their common artistic vision. Finite Material Context starts off
with Chris Block's "Gravity," a piece with tightly overlapping vocal
loops over spacey, whining noises. Nex up is an untitled Jim O'Rourke
composition with the aura of a distant highwayand windchimes, and
a vague sense of doom. I was totally absorbed in teh piece, when
BAM! Dan Burke's "Mixed Signals" came in and my heart skipped a
couple of beats. Spark Lunch's "Theme From Bensonhurst Race Riot"
is a dense and intense collage work, Block's "Fondness Maakes The
Heart Grow Absent" has a rotating squeal over repetitious industrial
(remember that word?) percussion, and Lunch's "Mr. Blankford's Lament"
takes us out on a more restful note. This tape is strong throughout.
Illusion Of Safety
Industry & In 70 Countries
The most recent releases from this assemblage. Industry is a true
gem of industry-meets-Andromeda sonic union. The long "Temple Set"
could well be the most beautiful "cosmic" -industrial piece I've
ever heard, being a riverbed, shifting melodic drone overlaid with
repetitive metal claging soudns, with lots of deep, low rumblings
and even a sampled chorus. The live tracks are primarily in the
same harmonious vein, making the whole tape a positively joyous
and ominous listening experience. To me, it's theirbest release
yet. In 70 Countries, with human torture as its theme, is more sonically
diverse and hellish in atmosphere. Included are treated recitations
of torture methods, industrial groans and wails, crying babies,
high frequency drones, and great electronics, the whole brew in
a tight mix. Not created to be sensationalistic, the pieces on this
tape coalesce to form some genuine terror, and a powerful statement
against (in)humanity. Jack Jordan
Illusion Of Safety
RVE (Cassette) (Complacency)
Here's something a little different from this Chicago outfit. Instead
of discrete compositions, RVE is more a succession of sounds that
fold into one another. Listening to this tape is like being blasted
by torrents of water from a hundred fire hoses, standing in the
middle of a swarm of insects, listening to the scraping of a huge
furnace from the other end of a heating duct, or lying in a field
with birds; chirping, jet planes overhead, and an impending thunderstorm
on the way. So press play, turn your imagination on, and relax.
ILLUSION OF SAFETY
Distraction.
IoS has been charting their own distinctive course for some time
now, and under many shadowy guises: they've instigated corrosive
noise, industrial rhythm music, musique concrete and explored the
wide contours of pure sound collage. The nucleus of the 'band' has
always been multi-instrumentalist Dan Burke, although the lack of
linear notes in the digipak fail to indicate whether others are
involved. Distraction is an exercise in plundersonics--Burke travels
throughout the electronic spectrum, as the single 63-track goes
through warped, backwards classical motifs, marauding drum machines
attempting invoke martial law, film samples, and all sorts of machine
hums, feedback and indefinable noises. It's a stereophonic collage
wrenched from the vast history of music and it's intertwined with
electronic technology, with a vast amount of plucked, refined and
reconfigured sounds. Thematically, it doesn't get into a cohesive
whole, but this kind of stuff rarely does: like a cinematic documentary
edited with a '90s hyper-brutality, the patient listener is rewarded
by the sheer richness of the work's various component parts.
ILLUSION OF SAFETY
From Nothing To Less Complacency
This new IoS disc is a change from other recent work, discarding
much of the chaos and sound deconstruction of other works and instead
opting for a more natural, more organic sound. From Nothing To Less
is the band's eighth CD release and boasts that no samples or sequences
were used in its recording. Rather, From Nothing To Less is comprised
of live work as well as recorded rehearsals from a U.S. tour by
Dan Burke and Thymme Jones. Seven tracks that blur together into
one long song, this disc is full of lengthy drones, distant thuds
and scrapes, and other assorted sounds from this performance outlet
which never ceases to confuse and amaze. (Matt Mercer)
ILLUSION OF SAFETY
From Nothing To Less (Complacency CPCD 9501) CD 63 minutes.
Yet another release which proudly boasts of no sequencing or sampling.
I suppose these demonic twins to be the musical equivalent of leprosy
- who will catch it next? One of IOS's strengths lies in their timing
and attention to minutiae of recorded sounds. This album is a compilation
of two rehearsals and eight live performances on the band's tour
of the East coast of the USA in May '93. From an arsenal of instrumental
and non-instrumental sound devices including wine goblets, vibrators
and rubber masks, all contact-miked for optimum impact, they tease
and scrape and hour of aural mayhem. Periods of near-silence are
shattered by gut-wrenching collisions of industrial sound, not heard
since Neubauten graced us with Drawings of Patient O.T. Some powerful
resonances occasionally break through, creating a dense and impregnable
wall of sound. I tried for the life of me to hear the vibrator being
played, but perhaps it was too well hidden. At times, the album
has a filmic quality, but in true IOS fashion refuses to be pigeonholed,
although similarities to Neubauten, and at times Throbbing Gristle,
would put you in the right ball-park. Overall, this is possibly
one of the best Illusion of Safety albums that I've ever heard.
(Complacency) BN
ILLUSION OF SAFETY
Water Seeks its Own Level (Silent)
CD Grating and noisy but strangely alluring, the new IoS disc dances
a wavey line between the gradually evolving noisescapes of Cancer
and the denser, rhythmic slabs of menace found in Inside Agitator.
With somewhat ambiguous liquid imagery being the album's recurring
motif, sound manipulators Dan Burke and Jim O'Rourke often bring
about near- frightening intensities through shifting layers of oscillating
tones, gravelly percussions, scraping metallic atmospheres and shades
of discreet 'living' ambience. A number of the tracks, such as "Rim"
and "Scratching the Surface," begin with almost imperceptible bits
of naturalist noise, before sprouting into ominous landscapes. Burke
and O'Rourke have a multitude of sound tracks up their sleeves (a
favored sound is shortwave radio demolition, much like Charles Hayward
did in This Heat, or Richard H. Kirk in the dawning phase of Cabaret
Voltaire), but without resorting to cheap gimmicks, Water Seeks
Its Own Level curiously sidesteps the elements of post-industrial,
experimental and ambient musics in the creation of something fascinating
and unrecognizable. Darren Bergstein
ILLUSION OF SAFETY
Water Seeks Its Own Level CD
Water, IOS's first release with Silent, reunites Jim O'Rourke with
Dan Burke for the first time since Probe, and like that release
there's more of an emphasis on location recordings: children's voices,
water, birds, footsteps, etc. While this would suggest that Water
is a quieter release (and in many parts it is) IOS still manages
to pack quite a wallop with strategically placed roadblocks of agitating
noise. On "Closer to Home" high frequency transmissions flutter
over static energy before disintegrating into silence. "Not Good"
features looped children's voices playfully (and not so playfully)
crying while cacophonous junky creaks are juxtapositioned underneath,
the resulting tension being truly stomach churning. Closing out
the CD, the bizarrely titled "A Cross Between Wallpaper and God"
starts off rather noisily with some shredded bits of electronic
mayhem before giving way to barely audible "feedback" (?) and finally
an annoying car alarm. Being familiar with IOS I kept expecting
a blast of noise to catch me off guard, but more often than not,
it never did. I can't say I'm all that happy with the direction
this CD is heading in; I've grown a bit tired of location pieces,
but the structure and placement of sounds is pure IOS... and that's
something you won't see me fall asleep to. Silent Records, 101 Townsend,
Suite 206, San Francisco, CA 94107. JM
ILLUSION OF SAFETY
Distraction CD
Some may disagree with me here, but Distraction may very well be
the best CD (or anything) IOS has released yet. A multi-faceted
offering. Distraction is in essence, a culmination of all aspects
of past releases... references being made to almost everything they've
done (bits and pieces make brief appearances). What makes Distraction
work so much better is that it offers no singular sound in which
to describe or categorize it. From the quiet field recordings of
"Con Ed" and the frantic beat assemblage of "Imposture" to the junky
collage soundscapes of "Vasectomy" and the trademark drowning ambience
of "Fragments of Memory" or "Helen Your Brain, Forever Since Breakfast".
Distraction is chock full of concise edits, off-kilter manic energy
and brilliant sampling. One need only listed to the "White Zone"
with its unbelievably violent assemblage of piston-like beats to
know this is no ordinary release. While it lacks the emotional drain
of say Historical, it makes up for it in pure unbridled power and
it's success at bringing together such a broad base of contradicting
sounds. As a unit Distraction is intensely wound up, with Dan cathartically
unleashing a slew of pent-up frustrations and tension into one 74-minute
excursion of music. Holy shit, you need this! Odd Size. JM
ILLUSION OF SAFETY - Rules
of the Game 3" CD
There's something to be said for an artist when he manages to release
4 CDs (with more on the very near horizon) to my one zine, even
if one of them is only a 3" like Rules of the Game. Well, here we
go again, me trying to think up more adjectives to describe Dan
Burke's incredible music, particularly difficult in the case of
this. Actually, one look at the cut-and-paste collage cover of this
should give you an overall idea, for it's not a bad visual accompaniment
to the sounds you'll find inside (unlike the naked pic of Dan on
Distraction, hardy har). As his most collaged work to date, Rules
of the Game covers a series of areas, from the natural ambience
of what sounds like a train station at rush hour, to staticy drones,
to schizophrenic and random edits of noise bursts, steadfast beats,
general chaos, and carefully chosen movie samples (the first minute
is brilliant!!). All work coherently around and with each other
in frantic rhythmic patterns, at times sounding like a more industrial
and course Nagativeland. Things quiet down around the 13-minute
mark as the last 5 minutes embark into the organic: church bells,
gentle street sounds, rain, crickets, etc., and finally a short
jazzy interlude to sew things up. You guys should know by now that
it goes without saying, but I'll say it anyways just in case...
highly recommended! eM, 13n Reiztrager, Inzlingerstr. 22 D-79540.
Lorrach, Germany. JM
ILLUSION OF SAFETY
More Violence and Geography LP
This is the vinyl debut of a long-time cassette-making outfit that
specialize in dense, throbbing electronic ooze littered with found
voices, tape and record manipulation, loops, samples and all the
usual audio debris you would expect. In other words, it's not exactly
a new idea but if you tend to go for this sort of thing (as I do)
when it's done well, then you ought to give this disc a try. Part
of the album's strength is due to the relatively short length of
the tracks, which tend to run no longer than the average pop tune.
I also enjoyed the way IOS temper the rather morbid subject matter
with a bit of humor. (Complacency Productions, POBB 1452, Palatine,
IL 60078)--John Booth
ILLUSION OF SAFETY
Inside Agitator
Another wonderful release by the prolific Dan Burke and associates.
This CD clocks in at over 70 minutes. Sounds harsh and soft are
manipulated through these 10 tracks, where any sound is possible
at any time. A few beat-oriented tracks (not particularly danceable,
mind you...) meld odd rhythms with cutups and tape manipulations,
and haunting ambient textures filter through the cracks. Just when
the mellow subtlety draws you in, a sharp burst of incredibly harsh
noise interrupts, crashing headfirst into your skull. Investment
in this CD is warranted and recommended. ($10 ppd from Complacency,
P.O. Box 1452 Palatine, IL 60078)
ILLUSION OF SAFETY/DEAD TECH:
The best of Illusion of Safety and Dead Tech CD This is some pretty
frightening stuff, about as industrial as it gets. The working technique
is largely based on samples and the use of loops to provide structure
and rhythm. These loops are maniacal in tone, well chosen and combined
to present a truly disturbing image that allows no room for escape.
The competency of this band's groups of found vocals is above reproach,
as is there generation of rhythms. Added to this is some of the
most bent synthesizer and guitar manipulations that I have heard
to date. These are some of the most powerful works in the exploration
of such deviant realms that I have heard, comparable to the best
bands of its kind. If you like Maybe Mental or Test Department,
IOS/Dead Tech is your ticket to hell. (Complacency)--Nathan Griffith
ILLUSION OF SAFETY
EVE (Complacency, cassette)
Here's something a little different from this Chicago outfit. Instead
of discrete compositions, EVE is more a succession of sounds that
fold into one another. Listening to this tape is like being blasted
by torrents of water from a hundred fire hoses, standing in the
middle of a swarm of insects, listening to the scraping of a huge
furnace from the other end of a heating duct, or lying in a field
with birds chirping, jet planes overhead, and an impending thunderstorm
on the way. So press play, turn your imagination on, and relax.
ILLUSION OF SAFETY: Ecstatic
Crisis C-60
A very interesting group, doing very interesting things, this tape
is a collection of collages, concrete pieces, and dynamic mixes
of noise, text, and miscellaneous electronic material that is intriguing
in its avoidance of cliche, and difficult to categorize in its aesthetic.
The comparison to groups like Negativeland is perhaps a bit to easy
in this case, as Illusion of Safety (actually, I have no way of
telling if that is the name of the group on the cassette!) seems
to be attempting a less accessible result, one that deals not so
much with clever comments on popular culture as with more abstract
(and I think more progressive) notions of sound and form itself.
The music on this tape is very theatrical to me, and reminds me
to some extent of the sound design of James McKee, Barney Jones
and others while with San Francisco's Anteunna Theatre, in the way
that rather dense but very cohesive mixes are achieved with difficult-to-identify
sources. I recommend this cassette highly. (Complacency Productions)-
-Larry Polansky
ILLUSION OF SAFETY: Mort
Aux Vaches Staalplaat No Number CD
The latest CD by Illusion of Safety (aka Dan Burke and Kurt Griesch)
is a provocative blend of Improv and Ambient. Two tracks at approximately
25 and 30 minutes respectively; both are entirely improvised and
make extremely sensitive use of field recordings and electronic
sound processing. The first opens with fragmentary avant- piano
set against gravel-metallic noises--tiny sounds amplified until
they become all-encompassing and disturbing. Thereafter, the dynamic
range is mostly reduced to subdued, expansive drones and murmurs,
punctuated by distorted chimes and cymbals. Sometimes there's just
a hair's breath between sound and 'silence'. Like the work of AMM,
Morphogenesis and Organium, Mort Auz Vaches takes on environmental
proportions as it seeps imperceptibly into your urban landscape:
passing cars, even those multiphoning starlings on my roof, with
their Evan Parker impersonations, were determined to be part of
the overall sound design. Listened to on headphones, you become
more aware of Burke and Griesch's marvelous timing and pacing as
you hear the even tinier, submerged sounds - pops and crackles,
tremulous metallic resonances, half-heard voices, a finger rubbed
across a stylus as Pere Ubu's David Thomas once sang: The smallest
details, the finest points, they all add up." One of the most quietly
riveting albums I've heard. Chris Blackford, The Wire.
Illusion Of Safety
From the Violent to the Sublime
Music From The Empty Quarter #11 March 1995 Mathew F. Riley
[Historical]
I cant think of any better way of starting this piece than by quoting
a portion of the iOS press release. It provides as effective an
introduction to the history and members of he band as I could come
up with, and it certainlt cuts out the pretentious descriptions
I'm preparing for the rest of the piece. "Illusion Of Safety is
a collective of six people producing experimental music. They've
been described as creators of ambient, post-industrial, improvisation,
power electronics, sound collage, and decomposition. "Illusion Of
Safety has been the ongoing project of Dan Burke since 1983. Originally
formed with the avant-rock band Dot Dot Dot to do live improv performances.
In 1984 Burke began to work with Mark Klein, Mark Sorensen, and
Mitch Enderle, employing a post-industrial compositional approach.
Sorensen left the Chicago area in 1988 and at the same time Jim
O'Rourke began to work with IOS. Since that time Burke has been
joined by a fluctuating lineup of Thymme Jones and Chris Block (ex
Dot Dot Dot), Klein, Enderle, and O'rourke. Early in 1993 O'Rourke
stopped working with IOS in order to pursue his own solo projects
and in 1994 Burke began to work with Kurt Greisch, a new member
of IOS. Every performance and recording has had different combinations
of one to five members. "The Complacency label was founded in 1986
by Burke and Jones to release the music of IOS and Cheer-Accident.
Complacency has released 12 cassettes, 2 LP's, and one CD of Illusion
Of Safety as well as one LP and three CDs by Cheer-Accident. They
have also released works by La Sonorite Jaune, Eric Lunde, Hands
To, Jim O'Rourke and Eddie Prevost, and Organum. "Since 1991 IOS
has had a total of 7 full-length CDs released by the labels Staalplaat,
Tesco, Silent, Odd Size and Complacency. Each release has been unique
while still retaining the undefined characteristic of an IOS recording."
[PROBE]
Undefined maybe, but numerous journalists have made unending attempts
to describe and categorize the schizophrenic sonics of IOS. Silence,
noise, pain, pleasure, rhythm, ambient, grim soundbites packed with
graphic accounts of torture, mutilation, killing methods, gun training,
street conversations, psychoanalysts, kidnappers, murderers. An
IOS release is usually one or more of these components at least!
The very name "Illusion Of Safety" indirectly implies an underlying
desire to shock. In EST#5 former collaborator Jim O'Rourke commented
of IOS: "I'm not in it for the shock value like Dan Burke...". According
to Burke, even O'Rourke is a little off the mark when trying to
pin down the IOS raison d'etre. "A very small % of IOS output has
to do with social/political themes (which is I believe what Jim
is refering to). There are many levels that IOS functions on and
if I had to break it down to 2 of them , they would be beauty and
honesty. Most of our music is quite dark and sometimes abrasive,
but I find almost all of this still has a sense of beauty and aesthetic
continuity. We are concerned with the overall essence of the music,
how the music interacts with us and the listener, and that the elements
work together texturally, emotionally, and compositionally. "As
for my interest in honesty ("grim soundbites" and politically suspect
subject matter), it reflects my fascination with human psychology,
the dichotomy within us all, "the struggle between the violent and
the sublime". Sometimes it is hard to beleive what people are capable
of. That is the point of a piece like 'In 70 Countries' (about political
tortue), anyone can be made to do almost anything under the right
circumstances. Another point with this kind of subject matter is
a comment on how cold people can become, especially here in america
where there is so much violence we are numbed after years of media
conditioning. The Name Illusion Of Safety implies a recognition
of the cocoon most people surrround themselves with, insulation
from the world, society, institutions, people and especially themselves,
all of which are likely to cause harm. "Jim's statement is not entirely
accurate. I like to use questionable subject matter (kidnapping,
murder, deviation, torture, etc.) but I do not find it shocking,
and I dont believe most people who listen to IOS would either. I
assume most people who are into IOS know what is happening on the
planet. My intention is not to shock, I think of this material as
a documentary or investigation of the darker side of humanity, within
which there are many contrasts and subtle ironies at play. If our
music makes someone question or feel or think about something a
little more or in a new way, then it has been successful (on that
level). I am looking for some kind of reaction to our music in myself
as well as the listener, whether it's physical, emotional, or psychological."
[INSIDE AGITATOR]
I feel "schizophrenic" is a fairly accurate adjective for IOS' output.
From the violent to the sublime indeed. From noise to silence. And
back again. This is why the majority will have difficulty with IOS
products. But, they do say beauty is in the eye of the beholder,
well, wait till they hear the new double ambient CD "of & the".
Absolutely gorgeous yet uneasy drones. "Bad Karma" returns to the
monstrous world of political torture, abuse and mechanical rhythms.
Both these early 1995 releases are equally memorable, for different
but related reasons. Perhaps a less divided stylistic output would
see IOS gain ground in 1995? "I cannot see settling in on one style
for IOS in order to become more successful. I I want that I will
pursue it with other projects that have an identifiable style (this
unfortunately does seem to be a requiremnt for success) and will
keep IOS evolving. I have always had a strong inclination to subvert
"musical" structure, to use recognizable musical styles in an unusual
manner. I am an anti-purist and enjoy working with many different
styles. I have never seen any need to limit the output of IOS to
one particular style. Now that some of my music is veering into
hardcore techno (Lilycrusher), ambient space/trance (Cubensis),
acid-disco (Groovy) and pop/noise/rock (untitled project with Thymme
Jones), I have decided to keep these projects seperate from IOS
for various reasons. Mostly I think iOS should stay clear of any
current musical trends and should remain unpredictable, challenging,
beautiful and dark. "Sometimes I need to do noise, sometimes I need
to do ambient, and sometimes I need to do rhythmic material. I enjoy
working in all these areas equally. I see all these as part of the
same continuum, and working with them fulfills different needs in
us and hopefully the listener as well. I strive to have each IOS
release different from any other (in the case of "Distraction" each
piece) to keep myself as well as anyone else interested. There should
be no generalizations about who does what in IOS except that I am
usually responible for the beats and voice samples. We all work
from similar sensibilities and have attempted to develope our own
coherent language that exists outside conventional music forms.
"Some of the forthcoming IOS releases are less schizophrenic individually.
I have a solo collage piece called "Rules Of The Game" coming out
on eM 13 (Germany) as a 3" CD there is a twenty minute electronic
synth based piece done by Thymme and I called "Horror Vacui" coming
out on Old Europe Cafe (Italy) as a split CD with Randy Greif titled
"In Our Little Bodies." "Bad Karma" will be released by We Never
Sleep and is kind of a follow up to "Inside Agitator." Mark Klein
and I are almost finished with the double ambient CD called "of
and the." This release is all very long slow moving pieces with
no noises, edits, interruptions or human voices, the next IOS CD
on Complacency is called "From Nothing To Less" and is a compilation
of live performances done by Thymme Jones and myself. This recording
is a bit of a departure for sequencing or sampling. I plan a noise
CD and another decompostion CD more schizophrenic than "Distraction"
for late '95 release."
[DISTRACTION]
Dan Burke is the constant element in IOS. It's essentially him.
But there was a time in IOS' development when, to some outsiders,
myself included, the IOS product was slowly turning into a Jim O'Rourke
sound. The minimalist styles that O'Rourke has now become renowned
for, were supposedly creeping in and engulfing IOS. The project
became less unpredictable around the "Probe" release. Burke is able
to put the record straight. "IOS has been my project since the beginning
with different combinations of all involved. Lately things seem
to be happening in pairs. Mark Sorensen moved to San Francisco in
1988 and that is when I met Jim and asked him into the group. Jim
stopped working with me after our tour of Europe in November '92
when we were confronted about "In 70 Countries" quite a bit. Jim
realized he could not agree with the way I handled political subject
matter. This I found understandable and we have remained good friends,
but we haven't done any music together since that time. I think
we might work together again but he has become quite busy on his
own. "It's not really accurate to say the IOS sound was turning
into a Jim O'Rourke sound. We have all worked and developed along
parallel lines. Jim's main influence on IOS can be heard on our
live split LP with Holeist (out of print), parts of the "Cancer"
and "Historical" CDs, and on "Probe," which was a 50/50 collaboration
between Jim and I. IOS has a long, fertile history as a community
of artists working together, learning from each other, and developing
a language. Jim O'Rourke is just a part of this history, but since
he has the most name recognition it is assumed that his role is
much greater. This faulty inclination is perfectly exemplified by
what has been written about "Water Seeks Its Own Level" and "Distracction."
Both Jim and I are not too pleased with the way press has been handled
regarding our work together (and with these releases in particular).
"Water..." is all my own work except I incorporated some tape DX-7
performances Jim gave me. For "Distraction," Jim programmed the
beat and played guitar on the end of "Helen Your Brain, Forever
Since About Breakfast" and again I used some of his DX-7 performances
in that piece."
[LOOKING FORWARD TO SILENCE]
Given the preoccupation with all things ambient, IOS' "of and the"
could be massive. The release of "Water..." on Silent was a step-forward
for Burke given that label's reputation and influence. Retaining
that IOS trademark menace on "of and the" will probably not limit
the posibilities for that release. The chances of being noticed
by the ambient/techno crowd are there. It would be nice if everyone
jumped on the sinister ambient bandwagon of IOS. Just as people
appear to be doing with the "isolationist" movement in the UK. "It
is possible. Having the CD on Silent could help gain some new audience
for IOS. A lot of people seem to be opening up to new forms and
are getting tired of similar sounding bands. I think the ambient/post-industrial/noise
scene is all part of the same continuum and hopefully others do
too. Unfortunately few are as anti-purist as I am. There is a lot
of great work going on in this dark/ambient crossover. For instance,
the Isolationist compilation CD on Virgin is brilliant. The Aphex
Twin piece is very experimental and abrasive, really unexpected.
I have played at 2 Drop Bass Raves in the Milwaukee area doing my
Cubensis material. I am interested to do this more, play chill out
rooms etc. I am looking forward to hearing someone sampling IOS
in a pop or techno context, but can't really see people using IOS
as an influence. There is a long historical context for this kind
of music and there is already plenty of sinsiter ambient around."
[HISTORY IS WRITTEN BY THE WINNERS]
Or those who get the press and airplay. As is the case with most
industrial/post-industrial bands IOS have largely been ignored by
the press in their own country, aside from an article in Option
and the usual industrial magazines. Take note of the following sales
figures for IOS and Complacency CD releases.. These numbers as far
as I can tell, appear to be fairly representative for these areas
of music. Silent has done a little bit better for IOS, so, given
the chance who knows what might happen? If The Aphex Twin can sell
bucket loads of his very derivative "Ambient Works 2," then what
price IOS given a little hype and promotion at the right time with
the right wording? It would be interesting to see the reaction if
say, Future Sound Of London used an IOS soundbite. "Within 9 months
of release has paid me for 1200 copies sold of "Water..." . They
tell me they are almost up to 2000. I think they can do well with
any title as they do good promotion and have great worldwide distribution
as well. Our Staalplaat CDs are at about 1000 each ("Probe" and
"Historical"). "Historical" will be repressed by Soleilmoon here
in the U.S. Our Tesco CD "Cancer" has only sold about 800 probably
due to the unmarketable packaging. The "Fifteen/Finite" CD on Tesco
sub-label Functional has just been repressed after the first 1000
were sold. Including promotional copies. Organum's "Submission"
is at 1100 (long out of print and will be repressed); IOS' "More
Violence" LP is at 1100 (long out of print and will be rereleased
on Complacency as a CD in '95); the Fixated project is at 600 and
Cheer Accident's "Dumbe Ask" and "Babies Shouldn't Smoke" are at
1000 (out of print).
[RULES OF THE GAME]
Dan Burke's looking to tour Europe with IOS in May this year. On
their first tour of Europe in 1992 IOS performed in France, Switzerland,
Austria, Germany and the Netherlands. IOS have played with, among
many others, Crash Worship, John Duncan, Randy Grief, Merzbow, Zoviet
France, Hands To, Beequeen, Tau Twenty, Condom, Algebra Suicide,
The Haters, Metamkine and Nocturnal Emissions. As of November 1994
they've given 103 live performances. 1995 will be just another hectic
year for Burke and his IOS collaborators. Perhaps you'll get the
chance to experience this most innovative of the multitudinious
post-industrial practitioners for yourself. Pray you get that chance.
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