Enter into the world one ES3, raised by schoolteacher parents upon a steady diet of Gary Numan, Jethro Tull, Devo, Black Sabbath, Suicide and the Split Enz. Enter into the world one Rand-dog Wilson, raised by wolves on scraps of Rush, Xymox, Skinny Puppy, Harold Budd, Lynyrd Skynrd and the Cocteau Twins. Upon entering junior-high, these two separate entities became rigorous enemies. Yet, after their planned fight at the big football game ceased to materialize, the two aligned and became great friends (enrolling for four years of the Chinese language together). Remember, this took place in Warren, Ohio, in the heart of the great Mid-West where this sort of thing happens a lot.
By their sophomore year in high-school, the two had begun to musically unleash their collective creativity for the first time in after-school bands with Wilson playing keyboards and ES3 on guitar. Disgruntled, the duo went into solitude to experiment with different types of music, recording under different monikers. Their earliest efforts were Art-Of-Noise ditties, captured on a pair of demos in 1986 and 1987. By the second demo, however, the two were going through their Black Flag phase, dabbling in what would eventually become the trademark TDG sound. Eventually, ES3 began traveling to Chicago to write and record an updated form of the TDG with Wilson -- many of the group’s oldest songs were scrapped, gutted, or overhauled to reflect their new and improved dexterity in songwriting. Wilson took up playing bass in addition to his keyboard duties, while ES3 gathered samples and sharpened his lyrical skills.
Now years later, and hailing from both Chicago and Toledo, this two-man industrial-metal outfit has garnished the label the most positive press of all. Their debut CD, Urban Witchcraft, attracted plenty of attention world round -- they created music for Levi’s commercials, showed up on a few comps, remixed cuts for the likes of Rare Species, Nitzer Ebb and Chicken Dog, worked alongside The Jesus Lizard and Devo’s Mark Mothersbaugh and produced a host of other artists. Plus, they got plenty o’ airplay from both college and commercial stations (showing up on the playlists of WBUZ -- Cleveland, WMMS – Cleveland and KDGE -- Irving, Texas). Their latest accomplishment finds them on Cargo/Re-Con’s TV Terror compilation (a cover of the theme song to “Maude,” from the sitcom of the same name) alongside Alien Sex Fiend, 16 Volt and the Electric Hellfire Club.
Before year’s end, the two will begin work on all music for a multi-media PBS special and finish up High Idol Pulsation, their sophomore effort. In the meantime, ES3 continues to run a regional music magazine called The Glass Eye, teach English at the University of Toledo and run Sin Klub Entertainment. Wilson, on the other hand, has unveiled his own Chicago-based recording studio, is the music-supervisor for computer company Runandgun and is doing commercial work for the likes of Nickolodeon.