FYI, Renoise is credited in ACPIMCD002. 
Media Arts at Sheridan Collge, Digital Image & Sound/Electroacoustics at Concordia, I had a small independent label based out of Hamilton from 1996 to 1998 mostly working with Johnny Dark, currently of Junior Boys fame. The label was a financial disaster because of communist-like policies and me probably being somewhere between a shithead and insane. I was heavily involved in southern ontario hardcore (straight edge) as a musical aberration at the time. I’ve been interviewed in The Hour, Under Pressure Magazine, among others. Played along side Knifehandchop (tigerbeat6), 1-Speed Bike (constelation/broklyn), among others. Credited on a copule of Arkin Allen/Mercan Dede albums - he once dropped one of my tracks at the Turkish Jazz Festival as the segway between himself and Peter Murphy of Bauhaus fame. Just because I chose to hermit and you don’t know me doesn’t mean I’m nobody. It also doesn’t mean I’m somebody, either… Actually, it means i’m a failure?
With that said, I’m back! Almost 10 years later as a self-funded mutant where my day job can pay for my art. Somewhere between ridiculous and terrifying, an aesthetic is forged. My label releases music which I think is good alongside my own tracks. My criteria for “good” is obscure and personal, poorly referencing the feelings of “apocalyptic future” and “hope” i had for mid-nighties jungle and straight edge hardcore. How the hell that translates to the beats we release is anyone’s guess? I do my own thing, plowing through, like a thug.
Coming September 2005:
- ACPIMCD001: Pale Faced Devils: More In Your Bassbox (1997, about 3 boxes left in my closet)
- ACPIMCD002: Basement Wigger: A Celebration Of The Concept Of The People’s Rebublic Of North Korea
- ACPIMCD003: Zark Behida: Isis
Face art now. My label only releases digital material because I want to facilitate the consumer’s ability to share. Our CDs are physical manifestations of digital information which could easily be converted into MP3 and distributed over the internet for free. And why not? A Trotch Recording is priced at the estimated cost of having digital information exist as a profitless consumer good. Ideally, it will cover the cost of the product. However, previous experience has shown us that this kind of practice usually ensures that we personally lose money on every release. Why do we do this? Because we can.
Still reading? This next part is what I would like you to care about.
Contrary to historical precedent, I no longer want to make enemies. I just want to do my thing, and I want you to do your thing. We are women and men doing things! Remixes, you wanna make them and put them out yourself? Great. You want to release remixes on vinyl? Let’s hook up. You want some sort of exclusivity for distribution? I’m ready to negotiate. My beliefs are not yours, 10 years later I get it. I want to make and distribute music, hopefully making my money back on the releases. I’ll leave the business side to others. Advanced copies of ACIMCD002 will be available in 3 weeks, ACPIMCD003 in 6. If you think i’d care about sending you some, contact me. Any kind of help/advice is appreciated.
Thank you for your time.
