Six Finger Satellite

The band formed in 1990 around a line up of J. Ryan (singer/keyboards), John MacLean (guitar), Peter Phillips (guitar), Chris Dixon (bass), and Rick Pelletier (drums). They submitted a demo of rock to Sub Pop Records, who, signed them and released the demo as the four-song Weapon EP in 1992. Six Finger Satellite's first full-length album, The Pigeon Is The Most Popular Bird, was released in 1993, with Kurt Niemand replacing Dixon on bass. The record more accurately represented the band's vision of cyborg-esque post-punk, and was recorded by Bob Weston, whose band Shellac named their 1994 single, The Bird is the Most Popular Finger in tribute. In 1994, 6FS released the Machine Cuisine EP, which was recorded entirely with synthesizers, suggesting the band's future direction. Their 7" single supposedly recorded "live at the A.C.I." was not actually recorded live at that prison, though its tongue-in-cheek liner notes so purport. In the meantime, Phillips had left the band and Niemand had died of a drug overdose.[1] James Apt (bass) joined for the 1995 album Severe Exposure, which represented a fusion of their synth- and guitar-driven sounds. It was during this time that the band began using their advance money from Sub Pop to buy recording equipment and build their own studion called The Parlour. Over the course of the next 3 years, the studio underwent a few physical renovations and upgrades in recording gear. The band became adept at recording and Ryan, Pelletier and MacLean were involved in recording projects with local Providence bands; Les Savy Fav,Astoveboat, Landed,Men's Recovery Project, flicker, The Olenyville Soundsystem, to name a few. The low-budget music video for the song "Parlour Games," from "Severe Exposure" and directed by Guy Benoit of Thee Hydrogen Terrors,was featured in an episode of Beavis and Butt-head. "Paranormalized" was a quick follow-up to "Severe Exposure" and while a few of the songs became live set staples ( "Slave Traitor", "The Greatest Hit"), the album was decidedly less guitar focused. The touring for this record was much more effective as the band played with Shellac, The Jesus Lizard, and Trans Am and was on the road for most of that year. The band's final full-length was Law of Ruins, released in 1998 and produced by James Murphy. It was marked by a spacier sound, and was heavily influenced by Krautrock. The CD came in an entirely clear jewelcase with minimalist neon green graphic design/writing. Murphy had joined as live sound engineer the previous year as the band was increasingly aware of the importance of having its own soundman. Murphy had been recording bands in Brooklyn at Plantain Studios and playing with the band Speedking. The 'death from above" moniker was one that Speedking had appropriated from a US military logo. The band and Murphy mutually influenced each other and the punishing live show took on another sonic dimension with Murphy at the board. MacLean quit the band in late 1998 soon after t

Filed under: alternative, experimental, indie, noise rock, post-punk

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