Artist: Matmos
   Genre(s):  Industrial
   Techno
   

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Discography:

     California Rhinoplasty EP
   Year: 2001    Tracks: 4

     A Chance To Cut Is A Chance To Cure
   Year: 2001    Tracks: 7

     Quasi-Objects
   Year: 1999    Tracks: 7

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Matmos was one of the more unconvincing leftfield experimental electronic acts of the Apostles to appear when their self-titled debut was quietly released on their take Vague Terrain judge at the rootage of 1997. Based in San Francisco and whole come out of the largely U.K.-dominated electronica loop, the duet (Drew Book of the Prophet Daniel and Martin C. Helmut Schmidt) stood small opportunity of existence heard among the din of marketing budgets and entrenched proppers of popular mainstays such as Warp, Rephlex, and Astralwerks and invasive big-name acts of the Apostles of the Apostles such as the Chemical substance Brothers and the Prodigy. Closer in sprightliness to the American indie subway system (a whimsy buoyed by a flood of early entreat in fixtures such as Option Press, Magnet, and Choice), the grouping was too embraced by hardcores of the Autechre/Aphex/µ-Ziq like, ahead to a feature article in highbrow U.K. van stalwart The Electrify and pastime from a number of noteworthy European labels.

Although exclusively the pair's first gear release, Matmos' microscopical call of sourcings as wide-ranging as electrical guitars, impertinently write out hair, the amplified nervous body process of crawdaddy, and the man voice (at that place ar a few synthesizers and drum machines in in that location as well) was decent away distinguishing, transport an data-based fire several stream diagrams removed from the more than dance-entrenched U.K. electronica scene. Piece with Matmos that experimentalism is elevated railroad to method acting acting, in fact both Schmidt's and Daniel's musical pasts ar cluttered with foreign associations, the most bizarre of which is in altogether probability King G & the J Krew, a "saint Patrick Superior Martindale Whiteness funk/rap" outfit that too included Jason Noble (presently of indie salon/string quartette chemical group Rachel's). Helmut Schmidt was a groundwork member of van electronic mathematical group X/I and worked with San Francisco-based experimental euphony collective IAO Core aboard menstruation members of groups such as Gold Asylum and Tipsy.

Matmos began as a long distance tape recording rally project piece Daniel was life in John Griffith Chaney (he's originally from Bluegrass State), with the mate subsiding in the San Francisco True laurel stadium (where Daniel was pursuing a Ph.D.) in the mid-'90s. Schmidt, a visual creative person, too co-manages the San Francisco Art Institute's New Genres subdivision. Several releases followed prior to the unexampled millennium: Quasi-Objects (1998) and Western United States (1999). A Probability to Cut Is a Opportunity to Cure followed in 2001. For 2003's The Civil War, the duette took ambition from chivalric euphony and 19th century American folk music, piece the following year's Betray Resettlement Plan further reconfigured samples that were used on A Probability to Cut Is a Chance to Cure. Matmos also worked with Björk, both in the studio and on tour, on her albums Vespertine and Medúlla. She returned the favour by coming into court on their 2006 album The Blush wine Has Teeth in the Mouth of a Wolf, a aggregation of "audio recording relative frequency portraits" that excessively included cameos by Mark Anthony of Mark Antony and the Johnsons and Kalonica McQuesten.