Music, like all language, is drawn from observation...Hovercraft is language,
specifically the communication between three individuals, each in a hyper
focused state of mental and physical struggle, filtering into music the world
around them. Abandoning accepted musical structure and utililizing traditional
and modern tools, these three individuals, Campbell 2000, Sadie 7, and
dash 11 set out to find what they feel are proper combinations of frequency,
pitch, and tone to express what they would otherwise put into words. Their
language is their own, and to see Hovercraft perform is to voyueristically peer
into their minds and witness a complex and extremely personal conversation
about their findings and their confusion. By no means is the music soley an
experiment, although the experience of the musician and listener very much is.
[ Listener Response: "...takes me into the mind of a deranged, mentally unstable
murderer as he is about to claim his next victim...heavy drums and bass represent
the rhythm of the stabbing motion of the knife he uses to finally kill his victim..."
(A.Gentile, Oscillatory Experimentation)]
Set lengths are kept short, crashing down just before the point of total
exhaustion, uninterupted by pauses or breaks, allowing the full development
of mental associations and musical ideas in both the musician and the listener.
Utilizing abstract sounds instead of words tied to literal meanings, Hovercraft
leaves room for interpretation, an aspect of the mind they take full advantage
of. Creating a constant focal point and altering the viewers sense of their
surroundings and their previous associations is crucial. Bridging the synapse
between the aural and visual receptors, blurs the critically cognative portions
of the viewer/listeners perception resulting in a state of near hypnosis and
acceptance. Projected images of a wide range of subjects involving the human
and the world around it, edited in complex orders and juxtapositions by Campbell
2000, offer the audience suggestions to interpretations but quickly lead them to
their own conclusions or lack there of. There is nothing to get. This is not a trick,
or a test. There is no underlying message or meaning. This is music... both visual
and aural, and it is for everyone.
["Hovercraft are musical dogs-of-war, they will support anyone and play to any
crowd, unfazed at whose minds they are invading this time around." Reef Valmont]
Hovercraft was formed in 1993 by Campbell 2000 and Sadie 7. What was
originally a guitar (campbell) and bass (sadie), has evolved into its most powerful
state with the rhythmic propulsion of dash 11 (drums). Hovercraft pushes the limits
of sound in every direction.
["Hovercraft are a sudden coronary... forward, forward, forward. It's like trying to
follow a speedskater on stilts. Hovercraft are way ahead of me. Their feet don't
touch. Float, float on..." Mark Luffman, Melody Maker]
Volume and velocity change from the minimally abstract to the physically
excruciating. A focused tension stimulates the senses (sight, hearing, touch, even
smell) to the point of tragedy, saturation and shock, resulting in an increased flow
of adreneline and eventually relief (pleasure). In the studio Hovercraft turn the
experiment onto themselves. Utilizing the technology as complimentary, and not
necessity, allows them to maintain the integrity of the recordings in the live setting.
Their first recording on Mute Records, "Akathisia" (1997) was a natural extension
of their earlier recordings ( "0001" and "stereo specific polymerization" both vinyl
only singles on Repellent Records), capturing them at their most vulnerable and
["...lysergically enhanced production aesthetic exhibits a nodding familiarity with
psychotic dissonance and oscillating patterns. Surrendering yourself to this
bliss-of-noise mess of cavernous drums, bass run through effects and guitars aimed
at the stratosphere makes you feel as if your head is detached from your body."
(Stacy Osbaum, LA Weekly)]
Their latest release "experiment below" is the culmination of five years of studied
chaos, refined and manipulated.