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“Suck” (Day 024) evolved quickly – beyond the simple companion EP to “Push” it was intended to be – into a proper album on its own. Rhythm Factory’s ten new tracks are fueled by the darker Drum’n’Basscounterpanes of “Zikcfukc (Livin Large),” “Zaouk (Petropolis),” and “Zuq (Itch To Scratch)”… Meanwhile, anthemic basslines and guitars draw blood during housier excursion “262111 (Clubsexy)”… A further exploration by composer/producer Eric Scott into breakbeat junglism.
Rhythm Factory “The Case of the Chiming Clock” (Day 042) lifts the shroud, and reduces the fictitious, mystery-solving electronics trio to a solo artist. Producer and composer Eric Scott draws influence from the ambient (“Drumbience Modulator”), drum’n’bass (“Snake Charmer,” “Swing Kids Fly Off”, “®-018”) and breakbeat (“Gamma”) as much as straightforward techno (“Burst Image Bank,” “Deep Dog,” “Cosey Inner Fanni”) and progressive house (“Sawtunthe,” “Filmy”).
“Summer” (Day 032) shows Rhythm Factory exploring – while getting lost in a pre-Autumnal – new musical territory. Composer/producer Eric Scott is at his most spatial here, as Summer opens with a meditational trilogy: the beatless “AESM (Light Remix),” melding into the percussive ambient mindfield of “The Stenotelegrapher” and resolving upon the lush trance-drone of “The Acid Room“…
The fanciful and upbeat Northern-pop of “Deaf In Ishen” sets the stage, though the humble introductions are soon over, replaced by the progressive house of “Headboard” and “Okapi,” and flanked by the alternately eclectic IDM of “Lap Dog Of Luxury” and “14 Months Peach,” the junglism of “Bornes” and the drillier “Dark Pork,” and the light-hearted disco-distractions of “Acid Skiffle” and “Mondays Alive“… Train music for your next holidays abroad.
“Push” (Day 022) shows Rhythm Factory as a shadow of its former self, in this long-awaited reinvention, ditching its identity as protagonist of “journey musics,” and immersing itself deeper into a progressive, dreamhouse bath. Composer/ producer Eric Scott returns to the studio after a 4-year hiatus (…after singing mostly the equivalent of 95 separate C90 cassettes’ worth of dictaphone-demos), and refines the cream of the crème here into a hybrid IDM/house symphony.
Featuring chiming lead lines and elements of anthemic techno (“Panic,” “Pearl”), Push fuses strains of world-indie (“Prawn,” “Psalm”) – its 16 tracks are an upbeat, while introspective, new offering.
“All Mine” (Day 014) – the proposed single from Rhythm Factory‘s “Play Pop!” – was mislaid as official catalogue product, while mastering decisions held up the latter title’s release in 1992. The single was shelved, and has only just recently seen the light of the millennium.
Powered by deeply insistent, resonant grooves and mellifluous ambience, this release features two instrumental mixes of the track, plus “Lisa’s House.”
In the late 1980s, and on into the year 1990, Rhythm Factory remixed a total of 11 tracks by Eric Scott, as “Play Pop!” (Day 012). These tracks signaled, for Eric, a shift away from indie-pop songwriting, pushing him further into the realm of the underground club mix. Vocal takes originally recorded were stripped down or even removed, often replaced altogether with chattering sequencer lines and samples. Song structures were deconstructed and verses modified, often favoring increased expedition of the product. Soon after, all parties could see a new musical objective emerging…
Rhythm Factory take the music of Eric Scott and apply a continually shifting musical palette, distilling in some cases, and messing around as always. Day 012 is an archival recording, and as is the nature of club music, certain mixes fall, at times, from the height of fashion; some sounds even become dated or slightly silly. We believe they should. “Pop” is a pastiche of the late 80s and early 90s music. Future Music or Retro? We can never have too much of either. “We are looking forward to the breakdown of the singularity in the art-object; people are no longer designing finished works, but unfinished ones, to be remixed, restructured. We are no longer consumers of “finished” work…Are we unfinished? Are we unfinishable?”
Rhythm Factory’s 1991 “In The Acid” (Day 004) brings Middle-Eastern modalities into a meeting with abrasive samples and stabs, to create two pieces of a cinematic, albeit coarser, exotic flavor.
Eric Scott: “These formed at a time when my interest in Belgian New Beat and Hardfloor aligned with release of the first Macintosh digital editing tools. I was considering going and living in Belgium at the time, and frankly, these pieces were intended as a way of paying my plane fare to get there!”
Rhythm Factory’s “Technopolitan” (Day 002) was realized in 1991 as a solo remix endeavor for producer/composer Eric Scott, in which he recontextualises 15 of his favorite self-penned indie pop tracks. Fueled in equal parts by obsessions with Belgian New Beat, Electronic Body Music and Acid House, the mix becomes a single work of groove-based electronica, taking form across a two-day (sleepless) production marathon mix/edit session. The result is an experiment in the fringe of listening and driving music. Like a train journey, Technopolitan speeds along a single set of rails for thirty minutes, while new electronic landscapes emerge and fly past. Also joined by four-to-the-floor and hip-house variations on “Once Is Not Enough,” Day 002 concludes with “Thank You K.V.,” a tentative but compelling deep house finale.
Genres: Electronica / Instrumental / Progressive House / Acid House / Progressive Ambient
Jupiter, Pete and Gez (they avoid using their surnames publicly) have a claim to fame in the development of obscure and unusual technologies, building equipment by hand that merges crude with state of the art and in sound research. Originally calling themselves Rhythm Defenders, this audio hobbyist trio maintain free-agent career status, which often finds them called in to solve audio-related mysteries in their spare time.
Some of their designs include the following:
1. A web-based sound cannon capable of emitting infrasound.
2. Anechoic “cones” of silence
3. Audio-reactive chambers fitted specially for the monitoring and recording of subject behavior, testing sound emissions (artifacts)
4. Hand-held accessories to facilitate recording, and that can be worn on the head or on the person of the recordist: “compact and lightweight.”
5. Reverb tanks and chambers.
6. Prepared pianos and other “modified” digital instruments.
7. Multi-platform / distributed “endless” loops and delay devices.
8. PDA-format Sonar
Remarkably, they look like brothers, but are unrelated, and are almost never seen in full headshot in publicity photos. They have since insisted upon retaining some element of anonymity.
Jupiter, or Jupe to his friends, studied contemporary composition at university in Southern California. Disenchanted in the 80s by the prospect of teaching a film-school driven student base, motivated purely by a need to conform to Hollywood interests, he left behind the prospects of becoming a full-time educator, and now moon-lights in a record store specializing in hard-to-find and archival recordings. Simultaneously responsible for cataloguing music and sound into the university radio station database, he has contributed heavily to the preservation of a musical heritage, by sharing an appreciation for history, above and beyond that of peers. He is well-versed in the recorded history of electronic musique-concrete from the western world, and presently telecommutes from Paris via a G4 titanium laptop.
Pete is a theme / jingle composer, with a technical background in record engineering and electronic composition; pursuits include a successful ringtone e-commerce site. Also a MIDI enthusiast and hobbyist, he has one of the largest private keyboard museums in the world, collecting and refurbishing archaic analog equipment, and maintaining a standard of usability for all sounds, “new and old.” He is recently married, with an infant daughter.
Gez works for French experimental sound lab, Dyslexip-Coflexip, pioneering infrasound and the research of its effects upon human and animal life. A follower of Vladimir Gavreau, he has pursued a secondary background in environmental field recording, amassing an impressive library of over 3500 DAT tapes, recorded first-hand during his global travel activities. “I just pack it all in a sack and just go places. I crawl under things, I wait, hit record… I close-miked a leopard in Peru who nearly killed me as I was trying to record the sound of her cub nursing…madness!”
Gez, a.k.a. “Beardy,” spent experimental years mixing LSD and infrasound, occasionally waking himself up to an 11 Hz tone in the morning, emitted by speaker cones under his mattress. “I’m slowly working my way down to 7 Hz,” he boasts, “I’m becoming impervious to the effects of sonic terrorism, one day at a time… Plus it keeps me regular.”
Rhythm Factory are currently working and telecommuting from a self-built studio loft and greenhouse in Paris, overlooking the Seine, near the Boulevard Des Grands Augustins.
Allegedly a pseudonym for composer / producer Eric Scott, a wholly dubious biography also emerged for Rhythm Factory in 1995, presenting claim to the name by a trio of audio subversives named Gez, Pete and Jupe, who solve audio-based mysteries.