Zebulldada formed in 1999 out of the ashes of Experimental-Funk band Grill-O-Matic Mosey. Ian Price approached fellow student Joe Baker about performing at the upcoming Battle of the Bands competetion and see how much they could confuse the audience...
Zebulldada formed in 1999 out of the ashes of Experimental-Funk band Grill-O-Matic Mosey. Ian Price approached fellow student Joe Baker about performing at the upcoming Battle of the Bands competetion and see how much they could confuse the audience with music and performance. Mark Treise, Ryan Horlacher and Doug Morrison, all previously members of Grill-O-Matic Mosey with Ian, all came to the first practice and therefore became members of the nameless group. Jonny Deschamps stopped by later to film footage for a project he was working on and was asked to contribute his trumpet skills
The 6 piece, now titled Zeb, surprised the audience and themselves by actually having a memorable and entertaining performance and were asked by one of the audience members to provide the music for a birthday party at Gradie's Cafe in downtown Auburn. This show also turned out to be a success. From then on, Zebulldada performed at Gradie's nearly twice a month, usually paired with touring experimental groups from around the country. They performed under many names (Zeb, 4x4xFun, Stummies, Glandscaping) but eventually settled on Zebulldada as the name for their collective
Zebulldada were known for their chaotic live performances which many times bordered audience antagonism or performance art and often included random props, costumes, and total improvisation. In one tense performance as the opening act for the pop-punk band Ruckus, Zebulldada performed no actual music while explaining to the rabid Ruckus fans why Ruckus wasn't worth seeing or hearing. They also opened for Bobby Conn, The Porque Torta, and Bebbe & Serge.
Joe, Ryan, Doug and Ian were becoming increasingly interested in home recording and began frequently collaborating on songs. Ian and Ryan's work together produced 2 electronic albums, The Naturebot 1 & 2, while Joe & Doug created (usually also working with Ryan or Ian) numerous Guerilla-Pop tracks such as The Media's Darling, Blood, Only Obvious, Omnipotence, Milking a Boulder, and Jonny's Swedish Whore
In late 2003 Zebulldada made their last 2 live appearances in Olympia, WA. The first performance was marked by their enormous volume which could be heard clearly for a 4 block radius and was nearly deafaning to those actually present in the room. The second of these performances included only 2 of Zebulldada's actual members performing as a 3 piece with a stand-in on bass. There will be performances in the future if someone bothers to ask
Currently members are working seperately and together to create music. Mark lives in California and is a member of the band Triangle, Ian helped found the Bonkers! festivals in Seattle and still periodically works on Naturebot projects with Ryan, Doug has been fine tuning his new fondness for electronic beats, Joe continues to write and record pop songs sometimes collaborating with Zebulldada members, and Jonny fronts the All Night Sunshine Band which features Ian on synth and, at one performance, Joe on bass.
Audiobot Vs. the Galloping Oscillator Review -FREQ by -Iotar- Audiobot vs The Galloping Oscillator - Audiobot vs The Galloping Oscillator Label: Z Media Format: CD Ian Price and Ryan Horlacher, or perhaps Audiobot vs the Galloping Oscillator, are engaged...
Audiobot Vs. the Galloping Oscillator Review -FREQ by -Iotar- Audiobot vs The Galloping Oscillator - Audiobot vs The Galloping Oscillator
Label: Z Media Format: CD
Ian Price and Ryan Horlacher, or perhaps Audiobot vs the Galloping Oscillator, are engaged cheerfully in a fateful battle of wills. The equipment has become so integral to the performer's method that questions of distinctions between human performers and sound producing machineries have become somewhat obscure and pedantic. But all this is a flurry of overcooked horsechestnuts: What distinguishes these performers and their prosthetic crutches from a hundred others engaged in similar power struggles is the sheer joy with which the whole endeavour has been embued. Genre is more often completely ignored rather than subverted or perverted. The careful listener may hear fragments of Electro, Drum'n'Bass, Krautrock, Jazz, Lounge and a number of other well worn pigeonholes but that same over-intellectualized ear will perhaps learn if it listens properly that these apparent stylings are merely part of the warp and weft of Price and Horlacher's fabric, or should I say texture?
The eclectic jam aesthetic of Price's previous band, the protean Zeb (Zebulldada), has been magnified and supercharged. In Ryan Horlacher he has found a suitable opponent and partner in crime. Perhaps the stand out moment of Audiobot vs the Galloping Oscillator proper (the CD also includes the Texturiles EP as a bonus) is the track "Lovey" with lyrics "ghost written" by Zeb co-founder Joe Baker. The rhythm and static fuzzbass of this track carry an awesome nonsense chorus from the highest moments of helium abuse in a demented dying insect dance drama... and then it is gone. But there are too many other apexes and epiphanies, as if the duo were following Stockhausen's blueprint for the Moment form, and it can probably be best described in voltage diagrams or roadmaps or Dewey numbers or something.
Perhaps this is the trajectory electronic music will have to assume to escape the twin demons of beard stroking post-Rock and anorak-clad Dance culture. It is difficult to predict where these two artists, either individually or together, will take this Baroque kaleidoscope but for the time being: They're having a laugh!