Saturday, October 4, 2008, Shows start at 12 noon until midnight

Bio

Jim Combs is a solo ambient musician who works with audio and MIDI looping devices under the name of Sensitive Chaos, and was voted "Best Local Electronic Act" in 2005 and 2007 by readers of Atlanta's Creative Loafing.

The first Sensitive Chaos CD entitled Leak was deemed one of the twelve best CDs of 2006 by Bill Binkelman of the New Age Reporter and has received airplay since it was released in late 2006 from industry heavyweights including Public Radio International's Echoes (145 stations across the U.S.), Soma FM's Space Station Soma and Cliqhop idm, WWSP, WXDU, WUSM, WTUL, KRFC, WETX, WVKR WDIY, and KTUH.

"Leak is one of those maddeningly difficult to categorize/describe CDs that drive me nuts. I want to scream out loud how good it is, but after writing those words the details are tough to articulate! The reason that the music presents difficulties in describing it is, of course, indicative of how much talent the man behind Sensitive Chaos (Jim Combs) brings to this venture. Wielding a vast array of electronic keyboards and synths, he weaves heady and adventurous (yet from my perspective wholly accessible) ambient/electronica that crosses over into jazz fusion at times and also has some pronounced elements of retro EM as well. The music can be warm and friendly, even whimsical, or shadowy and shrouded in textural mystery. Leak is a thoroughly enjoyable album. Combs consistently impresses with how he blends his melodic and rhythmic synths, always maintaining a coherent vision and never allowing the improvisatory nature of his music to overwhelm its sense of purpose. I highly recommend Leak for its inventiveness, its beat-happy effervescence, and its thorough lack of pretension, not to mention it’s just a flat out fun album from start to finish." - Bill Binkelman, New Age Reporter

http://www.sensitivechaos.com

http://www.myspace.com/jimcombs

One Cut Kill is one of Mobile's newest underground acts. Their grimy electronic industrial sound is not to be ignored.

--Steve Centanni, Lagniappe

part of Daedalus' arsenal was an analog oscillator, a gizmo designed to generate pure reference tones. It can play any note on the scale, but without the overtones or undertones that would color the same note if it came from a guitar or a saxophone -- in other words, without the very things that make a musical note music... yet, within Daedalus' framework of computer controlled rhythm and tone, it indeed became part of the music.

--Lawrence Specker, Press-Register

One Cut Kill took the stage and brought the crowd to a higher level. A screaming singer and aggressive rock music raged through the speakers. They put on a show that defiantly left an impression and a ringing in your ears.

--Mallory Wilkens, The Vanguard

http://www.myspace.com/onecutkill

The road leading Kurt Michaels to the release of his second CD, "Outer Worlds, Part Two," is a long and winding one. As a child armed with a stack of 45s and a transistor radio, he became immersed in the Top 40 hit makers of the early 60s—Chuck Berry, Spencer Davis, and Otis Day, to name a few. When the Beatles came to America, Michael's destiny became irrevocably cast to a future involving music.

Michaels' 35-year musical career has allowed him to share the stage with many of his jukebox heroes, including Berry, Davis, and Day, not to mention Wolfman Jack, Badfinger, Bobby Vinton, the Marvelettes, and the Chiffons.

"It was a surreal, cartoonish experience, like scenes out of some Fellini movie," he said. "But in the end what I got out of the experience was just that—out."

"Out," means the development of a harmonic palette that defies conventional parameters.

In addition to the above-named artists, John McLaughlin and Jimi Hendrix also provide a strong influence in Michaels' music as does the progressive rock band Yes, amongst others. Thus, he took a variety of musical genres and mixed them together to produce his own unique sound.

Michaels was initially a self-taught musician, learning about music from the artists he admired by listening and imitating their sounds, eventually developing an understanding of how it all fit together. He took no formal lessons until about age 20, attending Roosevelt University in Chicago where he studied music theory. Michaels also studied classical guitar for a period in his mid 20s, as well as improvisational skills.

As a working musician, Michaels has played on stages throughout the United States and Canada, fronting his own band, working as support for name acts and playing in a wide variety of musical situations. Working in such a manner has required him to transcribe literally thousands of musical works.

"When you do that, you not only develop your ears, you eventually come to recognize patterns and learn about arranging and harmony," he said.

Through the acquired knowledge of patterns, harmony, a trained ear and polished facility, Michaels has developed extraordinary improvisational skills over the years.

"As unbelieveable as it seems, that's why I'm confident enough to get up in front of a club full of people and create on the spot. It's second nature." he said.

Michaels did just that, enduring a trial by fire last year by performing as an opening act for the American debut of the Syn, which featured Chris Squire andAlan White of Yes..

Michaels doesn't listen to music in the same manner that he did when he was a teenager. Back then, he was obsessed with guitar and its role in modern music. Now he listens to music as a whole & complex arrangement, still trying to develop his understanding of why some things work, and some things don't. His first CD, Inner Worlds, Part One, was not so much about his ability to play, but more about his ability to create, arrange and program music in the digital realm.

"People that knew me were surprised that there was so little guitar featured in my first release," he said.

Because he didn't have the desire to recreate Inner Worlds in a live setting, it took Michaels a year to determine how to approach a live performance in the same spirit. Reverting to the guitar, the instrument with which is he is most comfortable, Michaels uses his "whole arranger" approach, playing off a single keyboardist to create soundscapes of surprising layers and depth in real time.

"Having someone to interact with keeps it fresh, forcing me to listen and anticipate where the music will be going next," Michaels said.

Thus, is the essence of Michaels' live creations.

For more information, visit Michaels' website:
http://www.kurtmichaels.com.

Broken Symmytry is Doug Hughes, Gene Thompson, and Chris Schwartz.

Doug Hughes is also working in Tenth To The Moon, and has played in several Atlanta area bands including Liar's Club, King Kill 33' (re-union show-3/2001), My Evil Twin, and Fluid Transmission. He recorded Pineal Ventana jam sessions for inclusion on several of their CD releases, as well as the sessions for their debut demo release in 1993. He made his stage debut at the Destroy All Music Festival in 1988 playing guitar with the band Album 88, and the following year in Fluid Transmission, both featuring an assortment of WREK hangers-ons and DJs. Doug began in the late 80's by recording/mixing tapes of found sounds, mixed with crude digital samples and loops of guitar effects. Guitar gradually became the primary focus, he also plays drums, bass and synthesizers. His Solar Wind studio became the recording arm for the independent label Perimeter Records, assembling the Annual Perimeter Christmas compilation, a free promotional cassette, released between 1987-1993. This tradition was continued by Hughes in '96-'97 under the Outer Loop tag.

Gene Thompson formed a partnership with Hughes in the late 80's, recording and performing for Perimeter Records as Thompson/Hughes; this project eventually became Broken Symmetry. Gene also worked with My Evil Twin and Fluid Transmission, playing syn-drums, acoustic drums, sax and violin. He produced four solo albums of electronic music for Outer Loop, melding world music with electronic synthesis, with and without drums/percussion. These releases used a variety of sound samples culled from the internet, which Gene worked into the mix with his own sound creations. While in Boston in the 1980's, Gene was a member of Shut-up, Savage Ohms, Monad and Inner Space, the later of these once opened for Gong in 1979 at the Modern Theater. Gene performed on drums, recording several records with these bands as well as with members of Cul-De-Sac and as a duo with Chris Hanzsik.

Chris Swartz founded Perimeter Records with partner Robert Hollis, they released 3 vinyl albums in the late 80's as Hollis/Swartz. They were notable for performing and recording on home built instruments; exclusively, on their second and third albums Music for Homebuilt Instruments and 11 x 2. The home builts included a variety of percussion and stringed instruments, some inspired by Harry Partch and several other artists, some Chris designed and constructed himself. He helped foster the Atlanta underground music scene by releasing annual Perimeter Records Christmas cassettes, which featured many aspiring artists and noise makers, to promote the label. He recently compiled the best of these recordings as a 2 CD release, mailed to many of the same college stations who received the cassette releases in the late 80's-early 90's. Perimeter Records also released full length cassettes and 12" vinyl product, most notably "Nine Underground", a collection of recordings by various Atlanta bands/artists, which was routinely featured on WREK 91.1 FM "Destroy All Music "show in the late 80's. This release includes an appearance by Jarboe, later of Swans and now a veteran solo artist. Chris was a founding member of King Kill 33', as their original drummer. He recorded with Pineal Ventana and performed with numerous Atlanta area bands, including Skeesicks, Disk, 349, Liars Club and My Evil Twin. He also recorded and performed various solo projects and in Eta Carinae, working with former King Kill 33' bassist Donna Smith as an electronic duo. Chris joined Broken Symmetry full time in the late 90s.

http://www.myspace.com/brokensymmetry

Pacific Before Tiger is the project of North Carolina-based composer Andrew Weathers. He studies music composition and percussion at the University of North Carolina at Greensboro. Pacific Before Tiger began as a project to compose and perform a score for the One Song Production of Macbeth. For these performances Pacific Before Tiger was Vahid Moavenzadeh and Andrew Weathers. Pacific Before Tiger continues as the experimental music project of Andrew Weathers. Pacific Before Tiger is love and breaking rules and friendship and ideas and fun.

http://www.myspace.com/pacificbeforetiger

Duet for Theremin and Lapsteel is Scott Burland on Theremin and Frank Schultz on Lap Steel. The project came out of an Eyedrum improv group performance at The Contemporary. Although we were both there, we never did get paired up to play together and thought that it would be an interesting pairing. Performances and recorded tracks are improvised.

http://www.myspace.com/duetforthereminandlapsteel

Indigovox is electronic music that will put you in a trance and get you dancing at the same time, but that barely begins to describe IndigoVox's robotic sound. With a weirdness that resembles the Brazilian Girls, IndigoVox is a solo artist and creates the dreamlike music all on her own. Experiencing the mind-expanding beats of IndigoVox will be a concert that is hard to get out of your head - no strobe lights needed.

http://www.myspace.com/indigovox

citizenGreen's rhythmic compositions have been evolving for 5 years and running. Fusing many modern styles of electronic music, citizenGreen's pulsing mechanical beats, cyclic melodies, bubbling organic basslines and delicately crafted textures and patterns make for a unique listen, and a sonic fingerprint all his own. Chris Amell is the man behind citizenGreen.

http://www.myspace.com/citizengreen

11pm: Jam with all of the above