Sunday, September 24, 2006

Episode 113, Some Assembly Required

Episode 113, Some Assembly Required

01 DJ Shadow - “Six Days”
02 Original Derivatives – “Mission One (Dictator Mix)”
03 People Like Us – “Fun”
04 Office Products – “Mount & Do”
05 Corporal Blossom – “Plastic Job”
06 John Schnall – “My Way”
07 The Kleptones – “Fight”
08 Osymyso – “Leopard to lizard”
09 The Doopees – “Love songs (Love is a many razor bladed thing)”
10 Jeff Sconce - “Yummy”
11 Steinski and Mass Media - “I'm wild about that thing”
12 The Button – “Shifting frequencies”
13 DJ Tripp - “Maniacs emerge”

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September 24, 2006: The Button

September 24, 2006: The Button

Busy week here at Post Consumer Productions. Working on several interview episodes and wrapping up our third year of syndicated episodes. Kind of exciting -- another milestone. Our Q&A this week is with The Button, and it is the longest response we've yet to receive, so I'll keep this short and get right to the interesting part. Thanks for checking us out, and stay tuned for this week's podcast (episode 113).


The Button

I became familiar with The Button way back when I was a member of the Snuggles Listserv. Snuggles is a community of people who met online, as fans of the band Negativland, and interacted primarily via the listserv. When I first went online, it was largely to search for more sample based music and audio art, and one of the listserv’s I joined, hoping to find out more, was this group of Negativland fans. I figured if anyone could help point me in the direction of new appropriation-based sound collage, it would be a group of very net-savy fans of a band like Negativland.

(The photo is of the band Colorforms - Jay Kennedy is on the right)

The Button was one of the biggest contributors to this listserv. If you’ve ever monitored a listserv, you know there are maybe a dozen people who post regularly, and maybe fifty who will chime in from time to time, and countless more who just “lurk.” If that’s what they’re still calling it these days. In fact, I don't know for sure if Snuggles still exists - I changed my email address several years ago now and was never able to rejoin the group with the new address, so I’ve been pretty disconnected from that universe for some time now. I do still occasionally get new stuff from many of the people who populated that discussion group though, and often play tracks from albums the group put out, including The Droplift Project, Free Speech For Sale and Dictionaraoke. Anyway, this is a feature on The Button, not Snuggles...

The Button was founded by Jay Kennedy and Samuel Harmon. Their radio program, Press The Button, consists of live manipulation of samples, people calling in on the telephone and things of that nature - not unlike Negativland’s radio program, “Over the Edge.” In fact, the Weatherman, one of Negativland’s cast of characters, has been known to call in to the program on a semi-regular basis, just to contribute to the live mix. The combination of live audio mixing, electronics, with or without phone call contributions, has become kind of a college radio tradition at this point.

Press The Button is in fact still going strong, though it looks like the torch has been passed to a couple of people who go by the names of Glacial 23 & Widget. I had to do a little online research to fill in some gaps, as Jay - or every man, as he's now called - actually submitted this Q&A several months ago. It looks like he and J. Kyle Moyer perform as substitute hosts, from time to time, but are focusing largely on Colorforms, another of their performance projects.

The Button, and their various side projects, have released over two dozen records. Press The Button broadcasts live on WRUW, in Cleveland, Ohio (Wednesdays, 10 to Midnight) and has been on the air since 1997. Stay tuned for Episode 113 to hear several sound collages, including one by The Button! Without further ado, here’s the SAR Q&A with Jay Kennedy of both The Button and Press The Button

*Name: The Button

*Are there any additional names used to describe this project: Sometimes "Press The Button,” but really, no.

*Do you use a pseudonym? every man (Although it now reads that on my driver's license! I got it legally changed).

*Members: every man, Samuel Harmon (Glacial 23), Amy Broestl (Widget). Sometimes J. Kyle Moyer. Sometimes Paul Ryan.

*Founding Member: every man, Samuel Harmon

*Tape manipulations, digital deconstructions or turntable creations: Ouch... of those three, the closest thing to it is "digital deconstruction" but we use a lot of analog too!

*Another genre descriptor: Sonic Surrealism

*Why you use this descriptor: We used to call ourselves "audio dada,” but since then our sound has been less dada, and more surreal… in the sense that the Surrealist art movement followed the Dadaist art movement. I have a much better understanding as to why that happened now, having been a part of an audio dada movement for so long. The desire is to go beyond the dada, and explore a deeper meaning within the collage.

*Location: Lakewood, Ohio

*Original Location: Erie, PA

*What is your creative/artistic background:
I was involved in stage/theater from age 8 - 16. I was a computer programmer from age 8 - 18, doing mostly Applesoft Basic programming, or Business Basic programming. I was making low-resolution video games a lot. When I was 17, I formed a public access TV show called "No Budget Theater" which was heavily influenced by The Kids in the Hall, Monty Python's Flying Circus, and Douglas Adams. It was comedy, I think. Mostly weird and silly.

Three of the members of No Budget Theater got the idea to make "No Budget Theater - The Album!" which kinda didn't happen that way, but we recorded a lot of songs with silly lyrics, sung badly, and did some radio sketch parodies, and then college happened. The three folks involved in that were the three core members of No Budget Theater, and all moved away for college. In college I had three majors, one of which was Communications with an emphasis in film. However, radio intrigued me quite a bit, mostly because at the time I was getting into Negativland's Over the Edge shows. Jeremy Hancock, one of No Budget Theater's core members, introduced them to me at age 17 with the Escape From Noise cassette tape. When he moved to college, I went to look for it, but only found "Over the Edge - The Weatherman" cassette tape from Negativland.

Discovering that it was actually a radio show, and not a real full length studio album kinda stunned me and I wanted to know how they did it, WHY they did it, and why the hell isn't this kind of format done more often?? Getting into radio production my freshman year, I learned how to do razor edits, and started doing tape manipulations.

I was making some humorous ones for the No Budget Theater album, but they were so far out compared to what we were doing, it didn't seem right to associate it with a sketch comedy TV show. So, the three of us called this collection of bizarre recordings "Inflatable Voltswagon" (yes, spelled that exact way.) It eventually became a full length cassette tape. Most of it contained silly audio sketches, but parts of it were true audio collage. It eventually got re-issued as a CD on, back when that site made it easy and free for anyone to compose and sell their own albums on the internet. The other two members were kinda disturbed by the collage pieces, and didn't really want them on the album, I think... but we clearly weren't getting our s*** together enough to finish it with sketch comedy, and I didn't want to table the stuff we had already recorded permanently, nor did I want to release something I tacked those on the album without their blessing, I think. They grumbled and okayed it, from what I remember, but they'd happily go on record saying the tape collages were all mine and not their artistic intent.

After that, I started a radio show called "The Vegetable Kingdom" at WMCE, in Erie, PA (Mercyhurst College's radio station.) That's where I met Paul Ryan (real name is Paul Smith.) I think I started calling myself DJ Jay. The show was a mix of "alternative" music, radio skits, and sometimes mild audio collage made live on the fly. That was my sophomore year in college.

By the time I was a junior, Paul and I were DJ'ing on Saturdays on that station. I mean, ALL Saturday for the most part. From like 1 pm until 9 pm! He would do 1 - 5, and I would do 5 - 9. It was called "Transmit-O-Matic, parts 1 & 2." That's when the real deal began. Jeez, we were doing on the fly audio collages like you wouldn't believe, with turntables, cassette tapes, CD's, effects processors, reel-to-reel machines, walkie-talkies, and live microphone input. We mixed in sketches called "Ryan Reports" which were like surreal talk shows from your dreams (or nightmares may be more accurate!) They were really silly, humorous, sometimes political in nature, but definitely surreal for the most part. Paul's dad worked in audio production, so he knew his stuff, and was able to get a hold of all kinds of obscure audio recordings to make the mix more captivating for the listener. This was probably around 1993, as I was a junior in college at the time. We got in trouble a lot with the station's faculty adviser, and even with the college president! Once we were playing a mix of polkas, celtic, german dance music, etc... backwards and forwards at the same time, and the college president actually thought we were intentionally insulting foreign cultures! I had to write a letter of apology, and somehow explain what happened in rational terms, making it seem like it was all an "accident." That letter was filled with more bulls*** than I care to re-iterate, but it did the trick and we kept on the air... just not together anymore. The faculty adviser "separated" us, like school children. We weren't allowed on each other's shows anymore, couldn't call each other, nor produce material together. We got around that too. The station was supposed to sign off at midnight, but we would hide under the console until security locked up and left, and then sign the transmitter back on, and do our live mixes together. ;) This was pretty routine actually.

Anyway, that kind of craziness went on until I was a 5th year senior and finally graduated. In the interim, my most interesting collages with Paul got archived on an album entitled "Thunderbunnies." It reminds me a bit of Renaldo & The Loaf's early work, in that it's primitive, clearly experimental, and just all around bizarre... it's probably a cross between their first album and Negativland's first album in terms of its spirit, its production techniques, and its sound. But really, it was its own thing. It's "Thunderbunnies." Paul went on with that project with a few more releases, but I was hardly involved after the first cassette tape release. Independently released, of course. Sometime in college I did some lengthy radio interviews with David Wills and Don Joyce from Negativland, which all the more inspired me to continue with what I was doing. I knew one thing for sure...I couldn't REALLY go wild on WMCE, not the way I wanted to, not the way I *HAD* to, in order to get my creative ideas into full fruition.

After a couple internships at a talk radio station in Erie, I gained a lot of knowledge about audio production, but also realized that there wasn't a single radio station in Erie that would allow my vision to come true...I had to move somewhere else. So I moved to DC for awhile and failed. It was only for a few months.

Then I moved to Cleveland. Paul eventually joined me. Sometime around 1997 I started the "Press The Button" with Sam Harmon (who was already DJ'ing electronica music in that time slot before I met him, and wouldn't you know it, he was a HUGE Negativland fan!) When we weren't doing the shows together, we hung out together. Eventually we started doing tape manipulations together, on reel-to-reel machine, yes, but also doing cut-ups on his home PC. That's when I was first exposed to digital recording / editing. That was the year I joined the Snuggles internet mailing list (Negativland fan club). That was also the year the first "The Button" album was made. We've been together since.

*History: On my own? 12 years. With The Button, 8 years as of 2005.

*Born: I was born in 1972 in Erie, PA. Sam Harmon was born the same year in Columbus, OH. Amy Broestl was born in Cleveland, OH I think. I wanna say that Paul Ryan (Paul Smith) was born in Corry, PA. J. Kyle Moyer was born outside of Cleveland, but I can't think of the name of the city.

*Motivations: To wake people up. To wake myself up. I really enjoy creating it, and I enjoy the affect it has on people who are looking for this kind of thing (who are all too few in number, I promise you). I can't NOT do it. I have to do it. It's fun, but it also gives me insight into myself.

*Philosophy: Reflection. Reflection of culture, myself, and love. Education. Education of culture, myself, and love.

*How would you like to be remembered: The man who brought Burning Man to Cleveland. ;) I started the Recycled Rainbow events in Cleveland the year I couldn't afford to go to Burning Man. That's gotten my creative spirits going more than anything else has to date. I think what I like about it so much is that it's a "community" event, and I get to create amongst a community of artists, with them, and for them. Lately, I've gotten involved in a project called "Colorforms." That's gotten me really excited too. More info at: Some collage with Colorforms, but it's not quite The Button. More transcendental, musical, and pop.

*Web address:


Thanks to Jay… or every man, as he has changed his name to, legally… for submitting the record for the longest response to the SAR Q&A! Be sure to visit his website, while you’re here surfing the internet – but don’t forget to download episode 113! At first I was a little overwhelmed by how long this response was, but since then I’ve been sort of underwhelmed by how short so many of the responses are, and posting this now, I actually really appreciate the time he took to post such a lengthy response. Thanks every man!

Until next week – thanks for listening,
Jon Nelson

Saturday, September 16, 2006

Episode 112, Some Assembly Required

Episode 112, Some Assembly Required
Featuring an interview with Freddy Fresh

01 Freddy Fresh – “I'm Diggin' It”
02 Freddy Fresh – “Ride me in the Sunshine”
03 Freddy Fresh – “The Real Pro”
04 Freddy Fresh – “Goza La”
05 Freddy Fresh – “Music For The Younger Set”
06 Freddy Fresh – “Humdinger”
07 Fatboy Slim – “In heaven”
08 Freddy Fresh – “The Scorcher”
09 Freddy Fresh – “Pranxters”
10 Freddy Fresh – “Peppermint”

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September 16, 2006: Freddy Fresh

September 16, 2006: Freddy Fresh

A double whammy this time out - This week's podcast (episode 112) features a phone interview with DJ Freddy Fresh, and the blog features the SAR Q&A with Freddy Fresh! Download episode 112 in just a few, to learn much more about the world renowned DJ, and read on for a good introduction to this week's podcast...


Freddy Fresh
I was honored to feature Freddy Fresh on the bill at a fundraiser for Some Assembly Required a couple of years ago. The photo is from that event. This intro is pulled largely from the press releases which were sent out for that show - so I'm getting a little break this week, in a way. DJ Retroblast opened for Freddy Fresh at the Triple Rock Social Club that night, and I am forever in their debt!

Freddy Fresh is among the most active and prolific American music artists in the world. He has released over 150 singles and 10 albums, over the past 20 years, and worked with everyone from Eminem, Fat Boy Slim, Puffy, Tito Puente, Grandmaster Flash, Gus Gus, Iffy, Clinton, Delakota, Heaven 17, Boogie Down Productions, Schooly D, The Freestylers, SBK, MC Brown Mug, Angel Dust, Jacknife Lee, Simply Jeff, Cosa Nostra, Gadagong, Double Six, Vitro, D & D, Baden Powell, Papa Mantra, Kitachi Brutal Style, El Loco Gringo, Meat Beat Manifesto, Le Tone, Courduroy, and Zebda.

He’s been featured on over 200 radio broadcasts including: The John Peel Show, BBC Essential Mix, Coldcut's Radio show UK, Beat Radio Los Angeles, Ministry of Sound Sessions, Groovetech radio (Resident), Some Assembly Required and many others.

He has performed in over 31 countries including: Moscow’s Olympic Stadium, Singapore (Zouk Club), Argentina, Chile, Puerto Rico, Budapest Hungary, Czech Republic, UK, Germany, France, Sweden, Norway, Canada, Japan, Australia, New Zealand, Poland, Greece, Spain, Portugal, Colombia and more.

He's well known for his work as DJ and Producer, and we're proud to feature the SAR interview with Freddy Fresh at the podcast this week. As a bonus, here's the SAR Q&A with Freddy Fresh!

*Name: Freddy Fresh, although I have gone thru many other aliases.

*Are there any additional names used to describe this project: Depends on what project you're presenting... I have done many custom mastermixes, etc.

*Do you use a pseudonym? (From Analogical Mind, Burundanga, DJ Hud, DWFS, Federico Fresh, Freddie Fresh, Freddy Fresh, Freddy Fresh & His Orchestra, Frederick Frisch, Frederick Schmid, Fresh Fred, Invisible Man, Loco Puertoriqueno, Modulator, MPC Genius, Nitrate, Tahnja.

*Members: Fredrick Schmid

*Founding Member: Me

*Tape manipulations, digital deconstructions or turntable creations: Depends... My mastermix mode would be turntable creations. Actually, digital manipulation of sounds via MPC 4000.

*Another genre descriptor: MPC manipulation

*Location: St. Paul, Minnesota

*Original Location: Minneapolis

*What is your creative/artistic background: (from bio) Although Fresh grew up a gothic rock/new wave junkie, a trip to the "boogie down" Bronx in 1984 introduced him to the thriving N.Y.C. hip-hop scene. Instantly smitten, Fresh began collecting DJ tapes (Shep Pettibone, The Latin Rascals, Marley Marl, anything he could get his hands on) and, of course, records -- everything from Jonzun Crew and Newcleus to Liquid Liquid and Cerrone, Shannon and Cat Stevens -- and his collection has since grown to thousands of phonograph records (making his side gigs as a DJ a bit easier). Fresh's first work behind the boards came via Bronx legends Boogie Down Productions, with Fred remixing a track for a B-side release and from there, Freddy began piecing together a studio, collecting many of the ancient analog and modular synthesizers that give his records their distinct, almost studio-jam feel (he mixes all his tracks live and sequences with an MPC 2oooXL and an MPC 4000).

*History: DJ: 1983. Producer: 1988, International DJ: 1993.

*Born: Minneapolis

*Motivations: Love of music

*Philosophy: Create things I'd like to hear, if I had to listen to something.

*How would you like to be remembered: Man who was dedicated to making innovative beats & sounds.

*Web address:


Thanks to Freddy Fresh for being the featured artist this week. For more info, check out his official website, and be sure to download this week's podcast (episode 112) to hear our feature on Freddy Fresh, including a phone interview with the artist.

That's it for this week. Gearing up for some big projects this fall, and am even starting to think about changing the direction of the playlists again, for the podcast! More and more radio stations seem to be interested in syndicating the podcast, in which case I'm thinking I should just podcast the current episodes. I'm thinking I may start in January, with the first episode of the 4th season. What do you think? If you have any thoughts on the show, in general - you can always drop me a line, at: assembly (AT) detritus (DOT) net.

Until next week - Thanks for listening!
Jon Nelson

Sunday, September 10, 2006

Episode 111, Some Assembly Required

Episode 111, Some Assembly Required

01 Double Dee & Steinski – “Jazz”
02 Public Works – “Substance”
03 Jeff Sconce - “Mouse house”
04 DJ Frenchbloke – “Ego on earth”
05 Laso Halo – “Stanley”
06 Osymyso – “Cut Up Nonsense”
07 Emergency Broadcast Network – “Dream Induction”
08 People Like Us – “Dolly Pardon”
09 Kid Koala – “Fender Bender”
10 The Residents – “Beyond The Valley Of A Day In The Life”
11 Freelance Hellraiser - “Trapped dreams”
12 The Tape-beatles – “The simple way”
13 Lecture On Nothing – “Turk Song”
14 Tommy Tee – “Aerosoul”

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September 10, 2006: Public Works

September 10, 2006: Public Works

Our focus this week is on Public Works. Stay tuned for Episode 111, featuring 14 sound collages by artists from all over the map (both stylistically, and geographically), including a track by Public Works....


Public Works

Public Works is Lloyd Dunn and Ralph Johnson, two of the founding members of the Tape-beatles. The story goes that when The Tape-beatles started to become less focused on tape manipulation, and more about the increasingly sophisticated trickery available via digital means, the two decided to change the name to Public Works. The Tape-beatles have since released another record, so apparently it wasn't a name change so much as a splinter group, or a side project... For much more information about the confusing history of this multi-talented group, visit the group's website.

(Pictured: Ralph Johnson, 1/2 of Public Works)

Ralph Johnson joins us this time out, to answer the SAR Q&A concerning Public Works. I'll tell you, I was tempted to edit the past-tense out of his responses. I'm not happy to hear that the project is apparently in deep hibernation (I can't bring myself to say it's any colder than that), but I've never edited any of the Q&A's and of course I wouldn't make edits that severe, even if I did make it a practice. Suffice it to say, Public Works (and the Tape-beatles) are at the top of my personal list of favorite collage groups.

Regardless of the status of the project, Public Works cu
rrently have two records to their name. The debut CD, Matter, was released in 1999, on the Dutch label Staalplaat. They also have a record out on Elevator Bath, called Numbers. The Tape-beatles also have about four full-length releases worth checking out as well. I'd say my favorites are Matter by Public Works, and Good Times by the Tape-beatles.We'll be doing a full feature on Public Works, including a phone interview with Ralph Johnson, in the coming months - so, yet another great interview to look forward to! Until then, satisfy yourself with this brief look into the world of Public Works, courtesy of Ralph Johnson...

*Name: Public Works

*Are there any additional names used to describe this project: Not really. Public Works considered itself an extension of the Tape-beatles project.

*Do you use a pseudonym? Ralph (sic).

*Members: Lloyd and I were Public Works, while the membership of the Tape-beatles fluxuated. If one considers it a functioning group, it currently has 2 members, Lloyd and John.

*Founding Members: Lloyd and Ralph (PW), Lloyd, Ralph and John (Tb).

*Tape manipulations, digital deconstructions or turntable creations: The Tape-beatles focused on tape manipulations, while Public Works would probably be best classified as digital deconstructions.

*Another genre descriptor: The Tape-beatles used the term Plagiarism® to describe their working methods. The works themselves were considered "manifestos by deed."

*Is there a story behind your name? John wanted to call us the Tape-worms, but Ralph didn't like it. So we called ourselves the Tape-beatles.

*Location: Iowa

*Original Location: Iowa

*What is your creative/artistic background: Studied composition with Kenneth Gaburo at the University of Iowa, received MFA in Electronic Music from Mills College in Oakland, CA in 1995.

*History: Personally, I've explored the implications of tape as a medium since I was in Junior High. The Tape-beatles formed, I believe, in about 1986.

*Born: I was born in 1964, but I don't know when Lloyd and John were born. John's about my age, and Lloyd is a bit older.

*Motivations: A desire to understand the process of creativity in its inevitable social, economic and cultural contexts.

*Philosophy: Intellectual property is theft.

*How would you like to be remembered: By who? Am I dying? I guess as a decent guy who left some interesting work behind that made a few people think about some things.

*Web address:


Thanks to Ralph Johnson for filling in the blanks, concerning Public Works. Now go visit their website. No, wait, first go download this week's podcast (episode 111), which is uploading as I type, then while you're listening, do all the web searching you want, and when you're looking for more to read about, visit the Some Assembly Required links page, for links to dozens and dozens of websites, with tons of information about the artists we play here on the show.

By the way, be sure to tune in next week for our feature on Freddy Fresh! It will accompany the podcast for an episode featuring an interview with Mr. Fresh, so that's two things to look forward to. Lucky you.

Until then - thanks for listening!
Jon Nelson

Sunday, September 03, 2006

Episode 110, Some Assembly Required

Episode 110, Some Assembly Required

01 Radar & Z-Trip – “Private Parts”
02 Antediluvian Rocking Horse – “The Premier Needs Protection”
03 Jason Forrest – “180 Mar Ton”
04 Jeff Sconce - “Lacan-bot”
05 Realistic – “Trademark massage”
06 Myeck Waters – “Get out of the way”
07 TiM G – “Voodoo Problems”
08 David Shea – “(untitled)”
09 Go Home Productions – “Karma in the life”
10 Lecture On Nothing – “Truckload Of Bibles”
11 Sucking Chest Wound – “Big Head”
12 Pauline Pantsdown – “I don't like it”
13 Pedro Rebelo – “...Just Cartoon Music”
14 Freddy Fresh – “The Real Pro (Nanada Music)”
15 Negativland – “Sycamore”
16 Tedshred – “We will rock U”

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More information about Some Assembly Required online, at:

September 3, 2006: Realistic

September 3, 2006: Realistic

Busy in the studio, but taking a break to attend to the podcast... Tune in to episode #110 in just a few... uploading as we speak. Our feature this week is on Realistic - read on!

[Update: Check out our 2007 phone interview with Realistic in Episode 164]



Realistic is James Towning, a musician and graphic designer originally from Ohio, where he also performed in a band called Fact TwentyTwo. Some Assembly Required listeners will most certainly be more familiar with his current project, which has gotten quite a few spins over the years.

I got my first Realistic record from Seeland around the turn of the century. That album, Maidenhead (1998), was a co-release with another label called Black Music. Illegal Art put out the follow-up, titled Private Moments (2001), which is the album which made me a HUGE fan. There is a new Realistic record in the works, so be on the lookout for that. There are a few compilation appearances and remix albums as well, so be sure to check out their website.

We'll be doing a feature on Realistic, including a phone interview with Mr. Towning, in an upcoming episode of Some Assembly Required [Update: Check it out in Episode 164]. So, while you're looking forward to that, here's the SAR Q&A with Realistic's James Towning...

*Name: Realistic

*Founding Member: James Towning

*Tape manipulations, digital deconstructions or turntable creations: Digital deconstructions… I mostly use the application Cubase SX on my Mac with various software synths, samplers, and effects. After many years of wrestling with MIDI hardware and OMS, I really like it being self-contained in one box now. When mining for audio content, I tend to choose sounds that are from everywhere in my life. I moved to Brooklyn, NY a few years ago and I have a portable digital recorder that I carry with me most of the time. There's such a rich texture of sound and visuals here. I'm constantly entertained with what I record. And I continue to collect thrift-store records and cassettes. I love composing little sound pieces using whatever source material I choose. It’s a cathartic, fun, and essential part of my life.

*Location: Brooklyn, NY

*Original Location: Ohio

*What is your creative/artistic background: Art school in the 1980's. I work as a graphic designer now.

*History: In 1986 I started recording electronic music under the name Fact TwentyTwo. Initially it was me and another guy - Dave Butler. Dave would sing and I would make music using a Roland 303/606 combo and some Casios and an Ensoniq Mirage sampler. We were in art school in Ohio at the time. We had lots of fun. Eventually, Fact TwentyTwo became my solo project. I sequenced the music on an Ensoniq synth MIDI-connected with various samplers and drum machines. I would then record everything including my vocals to an 8-track reel-to-reel and then master to DAT. In the early 1990's the graphic design magazine Emigré started a record label and they released two Fact TwentyTwo CDs. A third CD called Sticky Pop was self-released in 1995. At that point I started putting the Realistic "Maidenhead" album together using the application Deck and a Macintosh computer. My process hasn't changed much since then.

*Born: I was born in 1963 in Marysville, CA.

*Motivations: It makes me happy.

*Philosophy: None really.

*How would you like to be remembered: As a relevant artist.

*Web address:


Thanks to Realistic for being the featured artist this week! Be sure to check out their website. You can visit our links page to visit a vast majority of the artists who get aired weekly here on Some Assembly Required. Its updated regularly, and if you notice someone's missing, please drop me a line and let me know. I can be reached at assembly (AT) detritus (DOT) net. Always good to hear from you!

Thanks for listening,
Jon Nelson