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Biography
Probably one of the most irreverent and gifted suppliers of experimental electronic music, Kevin Blechdom (Kristen Erickson) got her focus on partner Blevin Blectum in Blectum from Blechdom in Mills College even though studying pc music. Making use of their custom-made applications, the duo stripped the normally educational field of experimental music of its studious mentality and changed it with kid sounds, cartoon results, and intentionally brutal compositions. Under very much protest from formalized and educational composers, the duo received a second-place reward from your exclusive Ars Electronica business in 2001 for The Messy Jesse Fiesta, that was released on Deluxe Information. Following the duo’s rather general public and tumultuous break up in 2002 (they reconvened six years later on), Kevin continued to record many solo efforts for little limited-run brands and Tigerbeat 6, this time around with more of the emphasis on mixing acoustic instrumentation with education. A lot of those recordings had been compiled with fresh types (including a shifting edition of Tina Turner’s “Personal Dancer”) on 2003’s Bitches Without Britches for Chicks on Rate Information and 2005’s Eat My Center Out. In past due 2008, she teamed with Eugene Chadbourne for The Chaddom Blechbourne Encounter, an amusing group of banjo-dominated materials including traditional tunes like “Alabama Jubilee” and “Graveyard” and intentionally bizarre “fused” addresses (the Beach Kids and Violent Femmes, Kylie Minogue and Mystikal). ForGentlemania, which Sonig released in springtime 2009, Blechdom continuing in a mainly acoustic direction.
