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One of the premiere names in the field of home- listening music, ' recordings retained the abrasive flavor of early pioneers and explored the periphery of even while coddling to his unusual ear for melody, the occasional piece of vintage synthesizer, and distorted beatbox rhythms. While his side projects - - including , , , , and - - have often emphasized ( or satirized) his debts to , , and , Paradinas reserved his most original and exciting work for major album releases as . Early LPs were based around the most ear- splitting buzz- saw percussion ever heard ( in a musical environment or otherwise) , with fast- moving though deceptively fragile synthesizer melodies running over the top.

As Paradinas began weaving his various influences into a convincing whole, his work became more fully developed ( though possibly not as exciting) , a fluid blend of breakbeat and with effects and the same brittle melodies from his earlier work. Born in Wimbledon ( though he grew up in several other spots around London) , Paradinas began playing keyboards during the early ' 80s and listened to bands like and . He joined a few bands in the mid- ' 80s, then spent eight years on keyboards for the group .

During that time, however, Paradinas had been recording on his own as well with synthesizers and a four- track recorder. When disintegrated in 1992, he and bass player bought sequencing software and re- recorded some of Paradinas ' old material. After the material was played for and - - the duo behind and as well as being the heads of Evolution Records - - they wanted to release it; recording commitments later forced and to withdraw their agreement, though by that time ( aka ) had also heard the tracks and agreed to release a double- album for his label, Rephlex Records.

The debut album for ( paraphrased from the side of a blank tape and pronounced " mew- zeek" ) was 1993' s .

The LP set the template for most of Paradinas ' later work, with at times shattering metal- cage percussion underpinning a collection of rather beautiful melodies. The Rephlex label was just beginning to flourish, with added journalistic attention paid to ' s recent , and though began to feature less in label- doings than co- founder Grant Wilson Claridge , later Rephlex work by , ( aka ) , and made it among the cream of home- listening labels. When began taking college more seriously ( something Paradinas had attempted briefly, from 1990 through 1992) , he officially bowed out of . Second album was scheduled to be released in mid- 1994, though only 1000 copies made it out of the gate. ( It was officially issued by Rephlex in 1996 after Paradinas served papers on the label. ) Paradinas ' first major- label release came later in 1994, after he undertook a remix project for Virgin Records. The EP was one of the most high- profile examples of the remix- by- obliteration movement, a burgeoning hobby for many producers in which a - song reworking would bear no resemblance to - - or trace of - - the original.

Though the EP was hardly a prime mover in the sales category, Virgin signed Paradinas to a hefty contract and gave him his own Planet µ sub- label to release his own work as well as develop similar- minded artists. Written into his own contract was a provision for unlimited recording under different names, and during 1995 Paradinas definitely took it to task: he unveiled three aliases and released as many albums in less than a year' s time. The nu- skool label Clear released his debut single as early in the year; it mined the fascination with Star Wars and music shared by producers like , and , head of Mo' Wax Records. Clear also released the first Paradinas alias full- length, ' s " Makes. ARacket" , later in 1995.

Although they were still audible, the LP downplayed his influences in favor of some rather cheesy synthesizer figures and a previously unheard debt to . The distortion re- appeared on Paradinas ' second LP of the year, by .

The first American- only release of a Paradinas album ( it appeared on ' s San Franciso- based Reflective Records) , its sound had the metallic feel of the first two LPs but with a less- dense production job.

Just one month after , Paradinas released his first proper LP for a major label, . The album included tracks recorded from 1993 to 1995, and though it was quite a varied album, the distance appeared to give it quite a disjointed feel. Paradinas spent 1996 releasing a second album ( for Warp) and his first as ( " Shaped to Make Your Life Easier" for Belgium' s SSR/ Crammed Discs) . Both LPs journeyed further down the queasy- listening route of the first record, with departures into ' 80s- style party and surprisingly straight- ahead .

He also owned a half- share in the Rephlex- released " Expert Knob Twiddlers" ( credited as ) , the fruit of Paradinas ' 1994 recordings with . Paradinas entered 1997 ready to undertake the most ambitious style makeover in his career; the fusion of his home- listening with the hypertensive rhythms of street- level . One year earlier, had released a single of schizophrenic noodlings ( " Hangable Auto Bulb" ) , and ' s project had provided the first convincing headphone act. Paradinas waded into the pool with " Urmur Bile Trax, Vols.

1& amp; 2" , a double- EP also released as one full- length compact disc.

Though the change- over wasn' t completely convincing, the next full- length more than made up for expectations. presented a complete synthesis of the many elements in Paradinas& # 039; career, from synth- jazz- funk and beat- box through to ambient- techno and . Though still unable to break through to a mainstream which had recently accepted and into the fold, Paradinas and were introduced to many fans after he toured America as the support act for chanteuse . [ See Also: , ] ~ John Bush, Rovi

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