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Tracklist
| 1 | Messenger-Spirit | |||
| 2 | Flesh's Midwife | |||
| 3 | Hateful | |||
| 4 | Mark Of The Embalmer | |||
| 5 | Dreams Into Dust | |||
| 6 | Body Fixated World | |||
| 7 | Trap Them And Kill Them | |||
| 8 | Unsane | |||
| 9 | Visionic Blend |
Credits
Notes
All tracks recorded Nov. 2000.
PBK:
"In 1996 I began working with cousin, Michael Kowalski (aka Artemis K), in a duo project we would come to call Acclimate. Artemis' role in this group was a more typical industrial approach, based on his love of Wax Trax style music, using sound-bites and heavy rhythms, while I improvised drones and noises around his rhythmic sequences.
We made quite a splash at The Experiences Festival in Paris, France that year, later playing the Knitting Factory in New York City and further concerts in our home-base of Flint, Michigan. From 1996 to '98 Acclimate performed on the same stage with such artists as Kid606, Schimpfluch-Gruppe, Toy Bizarre, Lesser, ConDemek and many others. Yet in spite of our résumé, we never had a proper official release in the time we worked together. I was disillusioned with the rhythmic elements in our music; I never cared much for straight industrial electro beats which I felt were too stiff, and I kept asking for what I called "cracked" rhythms. I realize, in retrospect, that what I was seeking was a more IDM based approach to rhythm, but I couldn't characterize it properly at the time.
Artemis and I stopped working together in 1999 as I focused more of my time on my collaborations with Ernest Carter in Mulatto Experience and our free jazz group, the 4/4 Quartet, see the "Ode To Sony'r" album below. But in November 2000, he and I met up once more and recorded live improvisational sessions at his home studio. These stunning tracks are now available here for the first time. Artemis drops in his usual film sound-bites here and there, but the rhythms have changed, they're more textural and morphing, only occasionally do those harder electro beats emerge yet the overall tone is still distinctly industrial. This would be the last time we worked together as animosity soon grew over Artemis' mischaracterization of my role in Acclimate, and the later release of the "Miscreant" CD, which used some of our collaborative tracks without permission or credit to my contributions."
PBK:
"In 1996 I began working with cousin, Michael Kowalski (aka Artemis K), in a duo project we would come to call Acclimate. Artemis' role in this group was a more typical industrial approach, based on his love of Wax Trax style music, using sound-bites and heavy rhythms, while I improvised drones and noises around his rhythmic sequences.
We made quite a splash at The Experiences Festival in Paris, France that year, later playing the Knitting Factory in New York City and further concerts in our home-base of Flint, Michigan. From 1996 to '98 Acclimate performed on the same stage with such artists as Kid606, Schimpfluch-Gruppe, Toy Bizarre, Lesser, ConDemek and many others. Yet in spite of our résumé, we never had a proper official release in the time we worked together. I was disillusioned with the rhythmic elements in our music; I never cared much for straight industrial electro beats which I felt were too stiff, and I kept asking for what I called "cracked" rhythms. I realize, in retrospect, that what I was seeking was a more IDM based approach to rhythm, but I couldn't characterize it properly at the time.
Artemis and I stopped working together in 1999 as I focused more of my time on my collaborations with Ernest Carter in Mulatto Experience and our free jazz group, the 4/4 Quartet, see the "Ode To Sony'r" album below. But in November 2000, he and I met up once more and recorded live improvisational sessions at his home studio. These stunning tracks are now available here for the first time. Artemis drops in his usual film sound-bites here and there, but the rhythms have changed, they're more textural and morphing, only occasionally do those harder electro beats emerge yet the overall tone is still distinctly industrial. This would be the last time we worked together as animosity soon grew over Artemis' mischaracterization of my role in Acclimate, and the later release of the "Miscreant" CD, which used some of our collaborative tracks without permission or credit to my contributions."