In 1986 he graduated from the Kiev Art College and appeared on stage jamming with Eliott Sharp, showing no mercy for the audience's ears. In 1988 he joined the Ukrainian Academy Of Art, got up after a heart attack and headed a strange electro-acoustic chamber band Sugar-White Death, laying bare the Hearts Of Darkness of the Ketamin Junkies and Post Chernobyl Psychos. The rest of his verbal energy went into the production of Lo-Fi-videos.

In 1992 Taran finally started to pay attention to the HipHop groovies, destroying ultimately his father's record collection and releasing the project The Tenth Victim. At the same time he was co-producing for the German cult-indie-label What's So Funny About... the first CD-Sampler of underground-experimental Ukrainian bands. In connection with this project Taran appeared at the 1993 Pop-Komm festival in Cologne, where he was deeply disillusioned by the massive misconcetions he discovered about the indie-scene in the Ukraine.

1994 saw him involved in a variety of club projects in Kiew, Warsaw and Odessa, mostly roaming through the multimedia jungle. In late 1995 he codirected the first Ukrainian big rave (Torba Sound) and as a guest of the Dutch Institute Of Tactical Media, started work on Mod And Mini And Space Age. In 1996 Taran signed to Compost Records in Munich, and still riding down the "Down Escalator Of Opportunity" in the capital of his nation...