Yeah, there's a lot of misinformation and just plain nonsense on the web, but a mass media that gives us Bill O'Reilly and Michael Savage on a regular basis, and that devotes more coverage to Michael Jackson's legal problems than the Iraq War, isn't in a position to lecture anyone about standards.
[Billmon, Davos Discovers the Blogs]
For years, from various places, I heard strange music. With or without beats, the structure was unconventional to say the least. It started with a saturday evening community radio program - unfortunately, I never made good notes on the artists I was hearing (Crash Worship was the only one I remembered). When that program went away, I found what I could, usually in the in-between spaces of the industrial tapes I was listening to at the time. The concept of industrial music was always much more interesting to me than the actual result. I wanted (although I didn't know it at the time) Musique Concrete. I slowly found music that fell more and more into what I was searching for, but it wasn't until I came across Nurse With Wound's Live at Bar Maldoror that I finally found an artist dedicated to that sound. It was a great moment, sitting at the music store listening to that album; that sound I had been looking for for so long.
I wanted more.
There was one problem: Nurse With Wound and the few similar artists I was aware of at the time were import only, and thus more expensive than other CD's. I was eighteen and had little extra money. But I needed more. So, having long wanted to start a music/art project, early 1994 saw the birth of what is now AODL (then named Forgiveness). The first few months were the best. A lot of tape laid down. 70-80 percent of it was crap, but the bits that hit, well, really really hit. Herein lies some of the story of those first recordings, some of which are about to finally see a CD release.