Destroyed For Comfort

"RESISTANCE IS FUTILE"- AUSTIN CHRONICLE- April 18, 2007."LIKE ANDY KAUFMAN DOING INDUSTRIAL MUSIC"- K8A from BEFORE DAWN"IF YOU ARE IN A BAND, LEAVE IT. NOW."-The Manual, Bill DrummondSTOMPY, BOUNCY, NOISY, SAMPLE-HEAVY ELECTRO-PUNK FROM AUSTIN, TEXAS. INTERESTED IN META-MEME RE-PROGRAMMING AND CHEAP BEER. OFTEN INCLUDES BACK-UP DANCERS AND PROJECTED ANIMATION. YES, WE'RE SERIOUS. WE'RE AN ANTI-RACIST, ANTI-SEXIST, ANTI-HOMOPHOBIC BAND THAT STILL MANAGES TO HATE EVERYBODY ANYWAY. WE THINK VEGETARIANS ARE DELICIOUS. WE LISTEN TO CRASS IN PUBLIC, BUT DANCE BY OURSELVES TO TECHNOTRONIC.To put it one way, if you desired to "hack" another person's soul the way you would a computer network, you would need a proper TCP/IP port. This port is buried deep within the other's brain. To hack another's brain, the most effective points of attack are the visual, the verbal, and the linguistic/symbolic. Up until recently, popular music was carried by a special, near shamanic group of people, most frequently known as bards. The songs they sang told of old stories and revealed occult secrets and constantly evolved through time in a constant attempt to stay modern and relevant. In the process, it was not uncommon for a musician to borrow a line or a melody from another recognizable song and include it in "original" material in order to maintain the timelessness of their craft. Melody lines, lyrics, and occasionally whole choruses were freely borrowed, modified or even stolen between popular musicians from medieval times all the way up to the 1920s. It is only recently that the concept of "ownership" became applied to the previously transitory and practically hallucinatory craft of music. This "ownership" dictates power. The power to override hundreds of happy childhood and adolescent memories with the giant fucking soda can obstructing your field of vision as your favorite song plays. The power to make EVERYTHING sound the same in order to stretch the shelf live of bland, vapid tunes. The power to halt and stunt the natural evolution of the musical craft. A touring R&B band from the 1960s dropped their guitar amp, tearing the speaker and they were too poor to get it fixed. The resulting grunt the guitar made caught on like wildfire, and blues and rock bands all over the south were slashing their speakers to get that sound, which eventually inspired the inventor of the distortion pedal, a definingly essential part of modern music. Imagine if anyone in that whirling zeitgeist had decided to halt the process by claiming what they had done was exclusively theirs and began suing to maintain that position. The organizations and entities that rail so much about copyright protection and "intellectual property" are the same kind of people (and often the same people) that make too much money anyway.