Radio Dystopia

All sounds and music you here (very little sampling) is played/created by American, Kevin Bottorff. Kevin is a self-taught musician who relies on his ear and imagination to create innovative music. There is no studio wizardry or hi-tech software used to cheat or make this music. SONAR 5 is used to record this music otherwise, the music is played using the following: BOSS DR-770 ; Roland GR-1 ; Yamaha Pacifica 6 string electric ;Dean 6 string electric; Digitech RP-1 ; Alesis Air-Synth ; Korg D8 ; Digitech XP 300 aka Space Station; TonePort UX2.



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He also has other projects such as The Mason Stratos Orchestra, which features him playing avant-garde big band jazz via a Roland GR-1 guitar synth.
www.myspace.com/themasonstratosorchestra



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Also there is The Mother Fakirs, which is a world music / jam band online collaboration group, with Kevin playing a Pakistani dulcimer called a Bul-Bul and he uses the guitar synth to play flute passages.
www.myspace.com/themotherfakirs



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And the last project is called The Psychedelic Brothers, which features Kevin playing with Australian Pete Considine. This project started out being an acoustic rock project and then turned into an experimental/psychedelic/electronic hybrid.
www.myspace.com/thepsychedelicbrothers



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Sea of Tranquility review of Radio Dystopia's "Beyond The Radar":
Beyond The Radar is the mostly electronic debut by Kevin Bottorff: with Roland, Yamaha and Alesis instruments and devices, the guitarist adds synthetic rhymes over reverb'd loops and effects that cater to a distinctly otherworldly concern. "Into The Cosmos" is quite the spacemusic exercise, its reined-in dynamics integral to a now decades-old style. The "Planet Lux-Ptah" track sustains a quirky melody which suggests tutorship under Wendy Carlos (the Queen of habitually quirky, classically-derived melodies). A jocular bent is espoused by "Against Time" and its three-note blippy motif, and sappy, randomly-cued FX. "A New Wonder" brings to mind a great many soft-EM tracks that reside somewhere between new age and ambient, its sequential "snowflakes" a hallmark of 1980's synthesists like Suzanne Ciani and Richard Burmer. An industrial m.o. is plied on "Manick" with processed vox, electric bass, and shimmering DX-like tones with sharp, pointed ends. "Lost In A Winter's Dream" is a cool knock off the chillout block, its tranquil air effecting smooth, slowly shifting timbres that belly-crawl over a rhythm-less canvas.
Bottorff's ethic is sound enough and Beyond The Radar finds its niche in several different subgenres. FSOL-meets-TD-meets-Front 242 sounds like an interesting combination. I suspect Radio Dystopia's sophomore outing will be much more accomplished, "espatially" considering the vastly fluctuating temperament of the EM underground scene, which will make up a considerable portion of Radio Dystopia's target audience. - Elias Granillo 2004



Psychedelic Soup For 2



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