Andrew McIntosh
Began in 1996 as N.FIOS (Noise For It's Own Sake), later Dearth N.FIOS. Changed name in 2000. First recordings on four-track using every means at disposal; old analogue pedals, old analogue synth, old microphone, tapes, the toilet flushing, etc. Began fully using synth with digtital multi-effects pedal around 2007/8, concentrating on power drones, as well as vynal albums and tapes as sound sources. Added keyboard sampler in 1999, digital keyboard in 2000 and software in 2001. Now using analogue synthesizers, digital keyboard, analogue and digital pedals, microphone, meat and rubbish, software and samples. Have recorded huge amount of material between 1996 and now, some released on cassette and mp3, but no real attempt to collate and release to the public until 2009 with the launch of non-existant micro-label Solar Anus.
Live
First live appearance (as Paraciticus Dei) at the launch of the "Behind Closed Doors" compilation album put out by Shame File in 2000. With a number of other artists contributing to the compilation, we barricaded ourselves behind curtains, turned off all the lights and encouraged the audience to wear provided blindfolds in a venue made of bluestone that was once a pig slaughterhouse (the Footscray Community Art Centre). Two lengthy pieces where improvised, the first a gradual build-up, the second a free-for-all that included vocal improvisations from Paraciticus Dei quoting from The Protocols Of The Learned Elders Of Zion. Recordings of which where later edited and put out as "Sound In The Absence Of Light" on Shame File.
First solo live appearance two years later at the launch of the "The Undertow" compilation of Victorian abstract sound creators. Three pedals and lead buzz. Later described by sound engineer Greg Wadley as "an excersize in pain". Jealous of James Smith (W.I.T.) getting the only complaint of being too loud from the bar below.
Miserable live gig at a benefit for radio 3CR (community radio) at trendy attic in Fitzroy in 2006 or thereabouts. Organiser had booked too many gigs and tried to pair me up with someone else who gave up after about a minute and a half of trying to get a sound out of his gear leaving me by myself. Couldn't hear shit, never got my rider from the bar and dropped and busted one of my power packs on the way out. Swore off playing live until -
2008 when asked to play at gig by Mark Groves of the Sabbatical label and millions of Noise projects. Again, just a few pedals. This time it worked. Have played live intermittently ever since. Could stop at any moment.
Releases
2009
Fist Of The Sun cassette (Solar Anus). Audio impressions of physical and emotional reactions to the worst heatwave in recorded history in Victoria, Australia during January, 2009.
Shit On Legs cdr wrapped in aluminium foil (Solar Anus). Pure hate filled blurt against yobbo/bogun neighbours.
Life, The Universe And Nothing 80mm cdr (Solar Anus). Recordings edited and collated from rehearsals for live performance, attempting to recreate sound of Fist Of The Sun. Succesful.
Whenever I Hear The Words Pop Culture I Reach For My Gun 80mm cdr (Solar Anus). Recordings edited and collated from rehearsals for live peformance, using meat, vocals and cd as sound sources.
Day Of Hell cassette (Solar Anus). Audio impression of the firestorms that devastated rural Victoria on 7/2/09. Also two pieces recorded in the summer of the previous year relating the physical pain of hay fever and dermititus brought on by heatstroke, as well as unsleepable nights due to extreme heat.
Wormdung Execration 4x80mm cdr and art-card (Solar Anus). A series of pieces recorded on four-track tape recorder using every means at disposal in an attempt to be as fucking noisey and disgusting as possible. Succesful.
Deconstrrruction online release. Two pieces mangling a twenty minute live recording of Emil Beaulieau (see collaborations).
Popular Destruction online release. Noise plunderphonics/detrivore copyright violation of commercial radio.
Mars In Cancer cassette (Black And Purple). Two pieces, "Dragon's Head" and "Dragon's Tail". Thunge synth.
Crushing The Entrails Of The Planet cdr (Klaustrosignal). Two Harsh Noise spirals, one recorded as part of the "Wormdung Execration" sessions.
Vomit Age Disintergrator cdr (Solar Anus). Made up of pieces recorded during rehearsals for live performance with steel buckets, plastic bags, microphones, cdr player and feedback.
Split releases
Highway Of Death/To The Ruin Of Us All Cassette release with US project November 14 on Central Industrial Records.
Dilection Abominor double 80mm cdr with art card (Solar Anus). Split/collaborative effort with US performer R.J.Myato.
We Destroy Planets Cassette release with US project Regosphere on DumpsterScore Home Recordings.
Collaborations
The Unnameable With Clinton Green (Undecisive God, Bite The Capsicum, Shame File micro-label and distribution). Dark Noise/Ambient pieces devoted to the work of H.P. Lovecraft.
The Citizens' Committee For Moral Hygiene With Jame Smith (W.I.T.). Manipulation of each others' sound sources. Noise both psychedelic and rhythmic. One track, "We Will Eat The World", was ripped off and used by Siesm for his track "Blue Skies Of War" without our permission. Attempts to contact this individual unsuccessful. May he drown in his own shit.
Alientape With Richard Wixner (Alien Tech, Sonic Ponderings, etc., Another Plane Records). Manipulation of each others' sound sources. Noise and ambient mashed together.
Deconstrrruction Redux: Rrredeconstrrruction My deconstrrruction of RRRon's original live recording rrredeconstrrructed by Melayne Seitoung.
