t I m e L I n e


1589-1591: the beginning


EBDVI do a punk tape (with no guitar). Lance Hahn: “Unbelievably awful.” Method perhaps used: putting masking tape over the recording head of the tape recorder to “layer” tracks. After this, EBDVI record over the blank side of the Dead Kennedys “In God We Trust, Inc.” tape. This is noise produced mainly by an amplified acoustic guitar. The secret to duplicating this method is forgotten forever.


1594-1596: the dry spell


Something so terrible happens, that I don’t recall. Doctor, what am I doing here? EBDVI becomes noticeably more “experimental”. Some of the “retardation” is still present in this stage, however.


1598-1600: the mystery years


Not much is known about these recordings as no one has ever heard them, with the exception of the very first EBDVI vinyl, a split 7” record with An Oxygen Auction (50 copies made). The song “Horse Cock Phepner” from the album of the same name by the Sun City Girls is covered. There is also a cut-up track a la Negativland’s “A Big 10-8 Place” era.


1601: the LP


Around the September 11th attacks, the split LP with Baz is released. 200 copies are pressed into black vinyl. The record is packaged in scavenged LP jackets which are defaced individually. Many pseudonyms are used by EBDVI on this record, as each copy bears a different band name hand-scrawled across the (marginally) unlucky band’s jacket. To add to the confusion, a slew of various inserts are included (a different set for each copy). Some hail this as EBDVI’s finest release to date, as it is remarkably complex and is somewhat of a heterogenous paste of the last ten years of EBDVI’s output.


1604-1607: international


Labels from Belgium, Canada, and Japan, as well as the U.S. become interested in issuing CD-Rs and internet-only releases. During this time, there is only one release on their native label Nauscopy, which is soon afterward sold to a twelve year old girl in Wisconsin. The label was becoming too much of a job, and jobs aren’t fun. Price paid: One thousand dollars. Pretty insulting for 16 years of effort.


1609-present: the Feeding Tube years


Feeding Tube, a label in western Massachusetts, releases a very limited five-CDR set, with a double LP on the way (?) consisting partly of songs posted on MySpace that were never included on any releases.








I took a Paul Anka 8-track tape and wound it up on my reel-to-reel and recorded it. Didn’t sound anything like conventional music, so I released it.



A bunch of recordings I did with this guy Quilber Fitzgerald. The show we did at RRR Records is the closest thing you’ll ever get to an EBDVI show: Fuck shows.



A very short-lived act with Quilber and Dildo. Got honorable mention in Bananafish.



A parody of Fossil Fuel. This tape was never even mixed-down and remains in this way nonexistent.



Found a tape that played differently every time, so I recorded some audio paste onto it. “A clock lost in the woods”, said Food Fortunata.



A Merzbow attempt, basically. Not half bad if you like that sort of thing.



Yes, that’s really the “band” name. Arguably the best of all the EBDVI side projects, this stuff ended up on a split LP with Ob Stokkem. The LP was clear with no label in a clear sleeve. 100 pressed.



The name says it all.



An extremely dark project. Used brainwave simulations that can actually produce a smell when played. One website interpreted this statement to mean bodily smells; wrong.



What if a major label called us up and wanted to put out our stuff? And what if we wanted them to regret that decision as much as possible? Spawned a MySpace fanpage.


Contact: n5qb7@hotmail.com