combine I-XVIII

due process


1995 CD


play | buy


“Ahh. Here's some serious art damage...”— Option

“This one leaves a real good taste in your mouth and shit in your tummy-tum.”—Bananafish

“A nasty world but a terrific soundtrack.”— Electronic Shock Treatment


Ahh. Here's some serious art damage that careens from ambient industrial to the astringent squonks, bleeps and clamor of '60s avant-garde to the angst-ridden sonic shards and noisy electronic reflections of the post-industrial mess we find ourselves in now. Featuring Tom Dimuzio, Ron Lessard (the man behind RRRecords) and John Wiggins, Due Process knows how to crank it out. While they can create a terrific din, the music actually leans a bit in the ambient direction, with lower dynamics and muffled timbres, albeit with a raucous pandemonium of noise just beneath the surface. —Dean Suzuki


Their new god which is a dry mark colored pencil ("Marky") fondles live wires of houses resouled for the bankrupt 'adopt-a-child' program and in the consciousness ensuing directs them to it's carbon headed nipple. The S.0.S. signals are picked up by SyncIaviiti brand sperm in different world labs and break out of the glass slide prisons they lay in to go looking for sex in mayonaise sandwiches at the lounge area of the lab complex. This one leaves a real good taste in your mouth and shit in your tummy-tum. —Seymour Glass

Electronic Shock Treatment

This CD is built up from eIecronic sampling, crude noise machines, radio screech, and other like-minded electronic sounds. The three people who here comprise Due Process (Tom Dimuzio, Ron Lessard, and John Wiggins),seem to have forsworn any hint of environmental sound, opting instead for a soundscape that is entirely electronic based. There are 18 tracks with no listed titles. I assume they would be generically titled Combine with the respective number added as identifier. The basic theme would seem to be one of clouding everything in mystery - the suppression of information in order to allow tile listener to approach the music unhindered by intellectual baggage. The electronic music making up ihis recording is quite cold, with dense textures that seem alienating and harsh. By the tenth sub-section of Combine the electronics have moved into the stellar regions frequented by such noise merchants as Merzbow or Hanatarash. Later the volume and intensity will drop for a while, only to re-explode around the fifteenth sub-section. This would be perfect music to have on whilst reading science fiction. l am left thinking of a future world where this brooding, beautiful music is the soundtrack to the frightening and disorientating events unfolding before our eyes. A nasty world but a terrific soundtrack.