Artist description BPM&M is: Bill Munyon and Pat Mastelotto Percussive Engineers and Sample Manglers. Featuring the voice and guitar of Robert Fripp, Low frequency groove reinforcements of Tony Levin and his espresso machine, Virtuoso Warr guitar musicality by Trey Gunn, Turkish synthesizer mastery from Cenk Eroglu, Cuttings and snippets of vocals from Adrian Belew and David Byrne, Soothing Tabla acupuncture lesson from Aloke Dutta, Artwork and cartoons by Denis Rodier, And more, including you, the listener, and your ability to perceive things within this platter that may or may not exist in the first place. "Keep it complicated." That, is exactly what rhythmatist Pat Mastelotto and Austin, TX sound sorcerer Bill Munyon have done with BPM&M, an experimental exploration that involves remixing an assortment of aural documents created throughout the years by legendary group King Crimson, it's associates, and other sources from beyond. With an assortment of computers, this literal dynamic duo have somehow managed to modify their laptops into musical electrocardiogram machines and have output a display of techno heartbeats previously unknown to mankind. The grand result is one aluminum and plastic-based compact disc containing sounds of nuclear beats and jungles of drone, compiled in measures of time that will have patrons of raves dancing on walls and exchanging the left sides of their brains with the right. And, it is highly safe (or unsafe perhaps) to say that the two have exploited modern technology to it's finest and fullest, along with putting the group's musical and philosophical thought processes through some rather intense digital therapy. A guitar is played by a saxophone, and tape machine transport mechanisms are put through some hefty isodynamic benchmark tests. Those are just minor examples of what's going on in the grand scheme of things. But, "What were you expecting?!" Those are words of wisdom from Crimson founder, seer and guitar manipulator Robert Fripp, whose voice of deconstructural reason haunts BPM&M's sonic architecture. In fact, everything that you hear on BPM&M comes from someplace else. The gents have combed through piles of sticky rusty magnetic tapes of live performances and scholastic guitar lessons, studio microwave leftovers and late night mad scientist garage clangings and mouse clicks. It is a project within a ProjeKct- not only does east meets west, east meets Cygnus as well. Cinematically speaking, it is Jurassic Park playing on a drive-in screen inside the sci-fi world of Blade Runner. The deluxe packaging featuring the illustrations of Superman comic artist is a feat within itself, visually depicting the gents o' the Crim evolving into what they really are: creatures! (Besides, the artwork goes over well with Fripp who would rather not see a camera used in the process!) If none of the above makes sense, do not worry. The definite here is that BPM&M will keep you moving, which is the point; we think. But we won't reveal anything more- it is now up to you to decipher what is going on with BPM&M. Reason being is that we fear revaling any more than we actually have- because if we do, Mastelotto and Munyon might gets their hands on it and sample it! So remember fellow luddites- Keep It Complicated! Or was it- Epileptic Atom Deck?

Music Style all over

Musical Influences many

Similar Artists I hope not

Artist History BPM&M- It started with Pat having a bit too much time on his hands a putting drumscapes under Robert Fripp's soundscapes. As the mess of tapes and midi cables grew it became apparent Pat needed an assistant: Pat leaves for England with tapes in hand, electronics in suitcases, and clothing in a paper sack to continue work with Robert. Fast forward a year and Pat is playing these same games with engineer Bill Muynon, in Austin Texas, only this time things are moving wickedly fast and within five days they have started several tracks that sound like mates to the earlier work. Ideas are sliced and spiced and eventually mixed just as Pat departs to work on the next recording for King Crimson (ConstruKction of Light) and takes Bill along as his audio technician. Meanwhile, in the shadows Pat & Bill produce "Heaven & Earth" by ProjeKct X (King Crimson's daring electronica alter ego). Then after touring Europe, they produce and mix the improvisational disc three of King Crimson critically acclaimed "Heavy ConstuKction" Cd set, just in time as they depart for tours of Japan and the United States. Fast forward another year and the BPM&M (stands for Bill Munyon & Pat Mastelotto) project mixes are still on the shelf awaiting a release that may never happen when Tony Levin (world famous bassist and respected man-about-town from whom many of these samples were taken) comments: what happened to that project?, its the best Crimson I've heard in years. I'll put it out on my 'Pappa Bear'label ! Aha!! but we need a package to put it in! Tony suggests Denis Rodier, a Canadian comic book artist he admires and while on tour Pat & Bill meet Denis in Montreal for conceptual brainstorming. Denis's drawings go way beyond the normal fan renderings and help reveal his unbelievable insights to the current and past extended Crimson family. BPM&M --

Group Members The Music is by BPM&M: King Crimson drummer Pat Mastelotto, and Bill Munyon- Percussive Engineers and Sample Manglers! Also featured: the voice and guitar of Robert Fripp, low frequency groove reinforcements of Tony Levin, Virtuoso Warr guitar musicality by Trey Gunn, Turkish synthesizer mastery from Cenk Eroglu, cuttings and snippets of vocals from Adrian Belew and David Byrne, tabla acupuncture lesson from Aloke Dutta.

Instruments BPM&M, an experimental exploration that involves remixing an assortment of aural documents created throughout the years by legendary group King Crimson, it's associates, and other sources from beyond. With an assortment of computers, this literal dynamic duo have somehow managed to modify their laptops into musical electrocardiogram machines and have output a display of techno heartbeats previously unknown to mankind. The grand result is one aluminum and plastic-based compact disc containing sounds of nuclear beats and jungles of drone, compiled in measures of time that will have patrons of raves dancing on walls and exchanging the left sides of their brains with the right. And, it is highly safe (or unsafe perhaps) to say that the two have exploited modern technology to it1s finest and fullest, along with putting the group1s musical and philosophical thought processes through some rather intense digital therapy. A guitar is played by a saxophone, and tape machine transport mechanisms are put through some hefty isodynamic benchmark tests. Those are just minor examples of what1s going on in the grand scheme of things. But ": What were you expecting?!"

Albums XtraKcts & ArtifaKcts

Press Reviews Patrons of raves will dance on walls within a world where Jurrasic Park is playing on drive-in screen contained in the sci-fi world of Blade Runner. King Crimson percussionist Pat Mastelotto and engineering sorceror Bill Munyon keep things cinematically moving, remixing an assortment of audio nuggets by Crimson and associates (including David Byrne). Their modified laptop computers become mutated electrocardio-gram machines, outputting nuclear heartbeats of techno and jungles of drone in measures of distorted time. Haunting the affair is Crimson founder Robert Fripp. Mastelotto explains, "I bought one of his Soundscapes CD's and by the time I got home I had listened to it several times and went right into my garage studio and put a track under it, which continued until I let Robert hear some of my scribbles. He was excited, and gave me some more soundscapes." Sifting through tapes of sticky, rusty live performances and scholastic guitar lessons, the two must have been clicking their computer mouses like mad scientists, but with self-imposed limitations."I limited my central figure to Robert, Tony Levin's wonderful bass work was a no-brainer and having access to (ProjeKct) three and four multi-tracks made it hard to resist using Trey Gunn," replies Mastelotto. "I was just following my bliss. I did this, like must music I am involved in, for fun. I enjoy drumming and making electronic racket. So, this was just a little sonic pinata party - knock out a sound, shake it and see what else it becomes. Almost every note, sound and vibration carries a message, and I just organised and chunked them into a form that I got quicker satisfaction from. Bill and I are always at this, so we plan to do more, so next time it might be Adrian (Belew), or some other band." - www.bpmm.net

Additional Info 'It's like 3D glasses for your ears"

Location austin, texas - USA

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