19 December 1977



6.15.17 Damage Control @ dublab, Los Angeles, CA
(DJ Set & Interview) with Derelict aka Derek McNeill


4.30.16 Youngbloods Los Angeles @ Touch Vinyl, Los Angeles, CA
(DJ Set) with Youngbloods DJs, Norvis Junior, Pink Siifu, Uhlife & Swarvy


8.16.14 Boy King Islands & Lightfoils Listening Party @ The Whistler, Chicago, IL
(DJ Set) with Patrick Sisson, Gloria Vanderbilt & The Graduate of Impala Sound

1.18.14 Fall Into Movement @ Fulton Street Collective, Chicago, IL
(Live drums & DJ Set). The premiere of filmmaker Alex Lewis' "Make Me Lovely" video; dance performances by the Chicago Contemporary Dance Company; video installations and art by Margaret Bobo-Dancey and Keith Whittaker; performance by Edwin Days


11.25.13 Revel Room, Chicago, IL
(DJ Set) with Jacob Daneman, Timothy Allen Quinlan & Patrick Sisson

11.23.13 ESAC Presents: An Evening with Y.O.U @ Loft 644, Chicago, IL
(DJ Set) with Justin Reed

9.5.13 Game, Dames and Guitar Thangs @ The Charleston, Chicago, IL
(DJ Set) with Patrick Sisson

7.1.13 Uncanned Music's Collection Selection @ Trenchermen, Chicago, IL
(DJ Set) with Scottie McNiece


3.17.12 Littlefield, Brooklyn, NY
(Performing with Stuart Bogie's Super Human Happiness) with EMEFE & Cyro Baptista


11.25.10 Abstract Science (WLUW 88.7 FM)
(DJ Set) with Abstract Science DJs Chris Widman, Luke Stokes and Henry Self

8.30.10 Schuba's, Chicago, IL
(DJ Set) with Volcanoes Make Islands, Scott Lucas & The Married Men, Mutts, The Sacred Robe of the Ancient Psychedelic Monks

8.12.10 Juicy Wine Co, Chicago, IL
(DJ Set) with DJs Form & Striz

5.13.10 Smart Bar, Chicago, IL
(Caural & K-Kruz) with Gaslamp Killer, DJ Solo and Chris Widman

4.30.10 K-Kruz Look Honest EP Release Party @ Morseland, Chicago, IL
(DJ Set) with Copperpot, K-Kruz, Teebot and Contriband. Live painting by Dustin


8.24.09 Edible Audible Picnic @ Millennium Park, Chicago, IL
(Caural & K-Kruz) with Dark Party (Eliot Lipp & Leo 123)

4.16.09 Terrace F. Club, Princeton, NJ
(Caural & K-Kruz)

4.16.09 Composition Colloquium at Princeton University, Princeton, NJ
Lecture and presentation for the Graduate Composition Program at Princeton University

4.04.09 Resonate v4.0, Chicago, IL
(Caural & K-Kruz)

1.31.09 The Abbey Pub, Chicago, IL

(Caural & K-Kruz) with Nightmares on Wax and Abstract Science DJs

1.23.2009 A/V XPLO Presents: Change We XPLO @ Subterrenean, Chicago, IL

(Caural & K-Kruz) with Golden Sores, Ten Speed, Midstates & the Choir of Ghosts, Change, Panda Riot, Pugs Atomz, and DJ SR71; Visuals by Tony Vega, Jessica Wagner, Bernadette Aguilar, Jose "J-Rod" Rodriguez, Natalie Escamilla, Nuria McNeal, Brad Biancardi and many others


11.21.2008 The Whistler, Chicago, IL

(Caural & K-Kruz) with DJ Striz, Justin Reed and DJ Warp

7.16.2008 Under the Brooklyn Bridge @ Brooklyn Bridge Conservancy, Brooklyn, NY

(Performing with Stuart Bogie's Super Human Happiness) with Sharon Von Etten, Colin Stetson, and Charles Gayle Trio

5.27.2008 Bird & Whale Showcase @ Sonotheque, Chicago, IL

(DJ Set) with Bundy K. Brown, John McEntire and Brad Loving; Visuals by Derek Hahn


5.22.2007 Shebeen, New York, NY

(DJ Set) with DJ Rude One

5.05.2007 Richard's on Richards, Vancouver, BC

supporting Busdriver, with Cocorosie and Tez

5.04.2007 Neumo's, Seattle, WA

supporting Busdriver, with Cocorosie and Tez

5.03.2007 Wonder Ballroom, Portland, OR

supporting Busdriver, with Cocorosie and Tez

5.01.2007 Bimbo's 365 Club, San Francisco, CA

supporting Busdriver, with Cocorosie and Tez

4.30.2007 The Rio Theatre, Santa Cruz, CA

supporting Busdriver, with Cocorosie and Tez

4.29.2007 The El Ray Theatre, Los Angeles, CA

supporting Busdriver, with Cocorosie and Tez

4.27.2007 Coachella Valley Music Festival, Indio, CA

supporting Busdriver, with guests AntiMC & 2Mex

4.10.07 Shebeen, New York, NY

(DJ Set) with DJ Rude One & Ryan Pearson

2.23.07 The Werehouse, Winston-Salem, NC

supporting Busdriver, with Deerhoof & Harlem Shakes

2.22.07 Mercy Lounge, Nashville, TN

supporting Busdriver, with Deerhoof & Harlem Shakes

2.21.07 40 Watt Club, Athens, GA

supporting Busdriver, with Deerhoof & Harlem Shakes

2.20.07 Common Grounds, Gainesville, FL

supporting Busdriver, with Deerhoof & Harlem Shakes

2.19.07 The Social, Orlando, FL

supporting Busdriver, with Deerhoof & Harlem Shakes

2.18.07 Crowbar, Tampa, FL

supporting Busdriver, with Deerhoof & Harlem Shakes

2.17.07 Poplife @ Post Restaurant, Miami, FL

supporting Busdriver, with Deerhoof & Harlem Shakes

2.13.07 Shebeen, New York, NY

(DJ Set) with DJ Rude One & Ryan Pearson

1.30.07 Great American Music Hall, San Francisco, CA

supporting Busdriver, with Deerhoof & Black Black

1.27.07 Metro, Chicago, IL

supporting Busdriver, with Deerhoof, Trin Tran, and Maps & Atlases

1.26.07 Irving Plaza, New York, NY

supporting Busdriver, with Deerhoof & Proton Proton


12.12.06 Shebeen, New York, NY

(DJ Set) with Ryan Pearson

11.18.06 Nordik Impakt Parc des Expositions Festival, Caen, France

supporting Busdriver

11.17.06 Le Fuzz Y'On, La Roche Sur Y'on, France

supporting Busdriver, with Bonobo

11.16.06 Le Rockstore, Montpellier, France

supporting Busdriver

11.15.06 Theatre Barbee, Bordeaux, France

supporting Busdriver, with Beaxo & Vex

11.14.06 Vents du Sud, Toulouse, France

supporting Busdriver, with Bonobo

11.11.06 Be The Riottt Festival, San Francisco, CA

supporting Busdriver; also appearing with the Rapture, Metric, Explosions in the Sky, Sage Francis, the Wrens, Sa-Ra Creative Partners, Diplo, Saul Williams, Asobi Seksu, Breakestra, RX Bandits, Visionaries, and many others

10.27.06 Southpaw, Brooklyn, NY

with Daedelus, Thavius Beck, and Praveen

10.26.06 Lava Lounge, Pittsburgh, PA

with Daedelus, Thavius Beck, and Jack Wilson

10.25.06 B Side Lounge, Cleveland, OH

with Daedelus & Thavius Beck; also appearing upstairs at the Grog Shop: One Self & DJ Vadim

10.24.06 Empty Bottle, Chicago, IL

with Daedelus, Thavius Beck and Dosh

10.23.06 Chop Suey, Seattle, WA

with Daedelus, Thavius Beck, and Truckasaurus

10.22.06 Towne Lounge, Portland, OR

with Daedelus & Thavius Beck

10.20.06 BOCA, San Francisco, CA

with Daedelus, Thavius Beck, and Christopher Willits

10.19.06 Kava Lounge, San Diego, CA

with Daedelus & Thavius Beck

10.18.06 Modified Arts, Phoenix, AZ

with Daedelus, Thavius Beck, and Great Stone Soundsystem

10.17.06 The Echo, Los Angeles, CA

with Daedelus, Thavius Beck, and DJ Nobody

10.14.06 The Terrace, Pasadena, CA

supporting Busdriver, with Of Mexican Descent

10.8.06 Chaser's, Scottsdale, AZ

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

10.7.07 Solar Culture, Tucson, AZ

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

10.4.06 Emo's Lounge, Austin, TX

Solo set & supporting Busdriver, with Playdough & Pigeon John

10.3.06 The Record Bar, Kansas City, MO

supporting Busdriver, with Deep Thinkers, Galapagos 4, and Pigeon John

10.2.06 The Abbey Pub, Chicago, IL

Solo set & supporting Busdriver, with Akrobatik, Pigeon John, and Haiku

10.1.06 Club Inferno

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.30.06 Stonefly Brewery, Milwaukee, WI

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.29.06 Vaudeville Mews, Des Moines, IA

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.28.06 Foundation, Minneapolis, MN

Solo set & supporting Busdriver, with Akrobatik, Pigeon John, and Musab

9.27.06 The Bluebird Theatre, Denver, CO

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.26.06 The Black Sheep, Colorado Springs, CO

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.25.06 Fox Theatre, Boulder, CO

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.24.06 Club Egos, Salt Lake City, UT

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.23.06 The Hat Trick, Spokane, WA

Solo set & supporting Busdriver, with Akrobatik and Josh Martinez

9.22.06 Chop Suey, Seattle WA

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.21.06 Berbati's Pan, Portland, OR
Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.20.06 Mazotti's, Arcata, CA
Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.18.06 The Library, Sacramento, CA
Solo set & supporting Busdriver, with Akrobatik, Pigeon John, and Another Rap Group

9.17.06 Club Underground, Reno, NV

Solo set & supporting Busdriver, with Akrobatik & Pigeon John

9.16.06 BOCA, San Francisco, CA

Solo set & supporting Busdriver, with Pigeon John

9.8.06 Avalon, Los Angeles, CA

supporting Busdriver, with Cocorosie

7.25.06 muX Presents: Roomiks Cube @ Monkeytown, Brooklyn, NY

Collaboration with visual artists C-TRL Labs, with Chiaki Watanabe & Zach Layton

6.05.06 Chop Suey, Seattle, WA

supporting Busdriver, with Grayskul, Map of France, Nite Owls, Locke & DJ Rosscoe

4.21.06 Culture Shock @ SUNY Purchase, Purchase, NY

supporting Busdriver, with The National, Saul Williams, We Are Wolves, World/Inferno Friendship Society, Japanther, the Gospel, Dan Deacon, Communication Corporation, O'Death, and Dr. Wang's Infectious Disease

4.18.06 Colgate University, Hamilton, NY

supporting Busdriver, with Rob Sonic & Creature

4.07.06 Mush Records Night @ The Echo, Los Angeles, CA

with Clue to Kalo, Nobody & The Mystic Chords of Memory, and the Electromagnetic

3.31.06 Mush Records Night @ the Echo, Los Angeles, CA

supporting Busdriver, with Thavius Beck, Daedelus, & Bigg Jus

3.28.06 Red 7, Austin, TX

supporting Busdriver, with the Studemont Project

3.16.06 SXSW: Mush Records Showcase @ Zero Degrees, Austin, TX

with Thavius Beck, Daedelus, Bigg Jus, Clue to Kalo & Busdriver

2.28.06 Beyond, Philadelphia, PA

supporting Busdriver, with RJD2 & Aceyalone

2.26.06 Avalon, New York, NY

supporting Busdriver, with RJD2 & Aceyalone

2.25.06 Phoenix Concert Theatre, Toronto, ON

supporting Busdriver, with Mindbender, RJD2 & Aceyalone

2.24.06 the Metro, Chicago, IL

supporting Busdriver, with RJD2 & Aceyalone

2.22.06 the Fox Theatre, Boulder, CO

supporting Busdriver, with DJ Rootz & Aceyalone

2.18.06 the Independent, San Francisco, CA

supporting Busdriver, with Wax Tailor (feat. the Others), RJD2 & Aceyalone

2.17.06 the El-Ray Theatre, Los Angeles, CA

supporting Busdriver, with Wax Tailor (feat. the Others), RJD2 & Aceyalone


11.28.05 Patchware on Demand @ Metro, Kyoto, Japan

with PsysEx, Snoweffect, Firo, Heprcam, Plot, Oriental Homeward, Oto-Graph, and DJs Tsukasa & Kamachi

11.25.05 Warszawa Might @ Shibuya O-Nest, Tokyo, Japan

with Milch of Source, Shugo Tokumaru, Hidenobu Ito, and Shiro the Goodman

11.20.05 Mix-Ism @ Sexual Appetite, Hiroshima, Japan

with Head-Erect, Shogo Takeuchi, DJ Ken, Stabilo, Kyo_Hey!?, Hase & Shimo-San

11.19.05 Dadaism @ Fukuoka Butterfly, Fukuoka, Japan

with Olive Oil, Paki-G, Zorzi, Kyomu, Mori, Cryn, GQ

11.18.05 Antisubzero @ Afterhours, Kanazawa, Japan

with Mush-I, STMT, Jigg, Awakim

10.4.05 Influence @ Sonotheque, Chicago, IL

with Kate Simko & Bill Selman

10.3.05 Wreckingball @ The Lucky Cat, Brooklyn, NY

with Calmer & Misha Snail

9.20.05 Sketchbook @ The Little Temple, Los Angeles, CA

with DJs Kutmah, Reneau, Eric Coleman, and Take

9.17.05 Six Degrees Festival, Los Angeles, CA

with Blockhead, AmmonContact, Breakestra, Phoreyez + Willow, Take, Kutmah, Tommy Ryan, and others

9.14.05 CMJ Music Marathon @ The Knitting Factory, New York, NY

with Books on Tape, David Gilmour Girls, Spalding Rockwell, and Mel Gibson & the Pants

4.29.05 Futurecurrent @ Nublu, New York, NY

with DJs Rontronik and Mark F

4.1.05 Bar 169, New York, NY

with Le Ton Mite and Kite Operations

2.26.05 Knitting Factory, New York, NY

with Outernational, Deep Thinkers and Approach


10.14.04 CMJ: Sound In Color/FiveSix Recordings Party @ APT, New York, NY

with King Britt, Daz-I-Kue, Willow, Exile, Platonic, Michelle Shaprow, and Starchild

10.01.04 Dublab Presents: Up Our Sleeve @ the Aurora Gallery, New York, NY

(DJ Set) with Prefuse 73, Nobody, Take, and Dublab DJs

8.29.04 Morseland, Chicago, IL

(DJ Set) with DJs Copperpot & K-Kruz

8.18.04- 11.3.04 Sketchbook NYC @ Route 85A, New York, NY

(Weekly DJ Set) with DJ Take

8.10.04 Downtown (Coup De Grace) Release Party @ Lit, New York, NY

(DJ Set)

5.20.04 Holocene, Portland, OR

with Daedelus, Adventure Time, and DJ Kenneth James

5.19.04 XLR8R's 11th Anniversary @ Milk, San Francisco, CA

with Daedelus and Adventure Time

5.12.04 Tommy's Tavern, Brooklyn, NY

with The One AM Radio and Conrad

4.29.04 The Lucky Cat, Brooklyn, NY

(DJ Set) with Egyptian Brain Surgery

4.26.04 Approach "Ultra Proteus" (Coup D'Etat) Listening Party, Serena Bar, New York, NY
(DJ Set)

4.22.04 Dublab Presents: Begin @ The Little Temple, Los Angeles, CA

(DJ Set) with DJs Hoseh, Kutmah, and Sacred

4.20.04 Sketchbook @ The Room, Los Angeles, CA

(DJ Set) with DJs Take, Kutmah, Orlando, and Eric Coleman

4.19.04 Koo's Cafe, Long Beach, CA

with Daedelus, the One AM Radio, and Wilmot Proviso

4.18.04 The Little Temple, Los Angeles, CA

with I Am Not A Gun, Daedelus, the One AM Radio, and DJ Set by Dntel

4.17.04 Pleasure Garden @ Barnsdall Art Park, Los Angeles, CA

(DJ Set) with String Theory, Testshot Starfish, DJs Frosty, Hoseh

3.29.04 Automato (Coup De Grace) Release Party, Serena Bar, New York, NY

(DJ Set)

1.15.04 The Knitting Factory, New York, NY

with Apollo Heights, Natural Selection & Bronx Monx


12.10.03 Rodan, Chicago, IL

(Web-Streamed live set from Brooklyn, NY)

11.28.03 the Mercury Lounge, New York, NY

with Antibalas Afrobeat Orchestra

10.24.03 CMJ: XLR8R @ Adidas Originals Store, New York, NY

(DJ Set) with Backyard Bangers and others

8.21.03 Weapons of Mass Production @ Smartbar, Chicago, IL

with Meatyogre, Maker, Overflo, Intel, and Real One

7.26.03 The Blurred July Release Party at Flow @ Lava Lounge, Chicago, IL

(DJ Set) with IllMeasures DJs

7.12.03 Empty Bottle, Chicago, IL

with Diverse and RJD2

6.22.03 Superstatus @ Ten56, Chicago, IL

(DJ Set) with Superstatus DJs

5.17.03 Wobblyhead Sound System @ Onopa Brewing Company, Milwaukee, WI

with Innerstance Beatbox, DJ Old Man Malcolm & others

1.25.03 Get Me High Lounge, Chicago, IL

(DJ Set) with DJs Striz and Form

1.23.03 Wobblyhead Sound System @ Empty Bottle, Chicago, IL

with Def Harmonic, Signaldrift, and Wobblyhead DJs


11.18.02 WNUR 89.3, Evanston, IL

(Performance on Northwestern University Radio)

10.30.02 Smart Bar, Chicago, IL

with James Lavelle & DJ Bob

10.15.02 Empty Bottle, Chicago, IL

with Edition Terranova and TRS-80

9.19.02 The Social, Milwaukee, WI

with DJs Rob Sevier, and Mikronaut

8.15.2002 Wobblyhead Soundsystem @ Smart Bar, Chicago, IL

with Def Harmonic, The Turing Test, DJ Old Man Malcolm, and One F

7.18.2002 Stars On My Ceilng Release Party @ Danny's, Chicago, IL

with DJs Warp, Striz, James Hayford; slideshow by Struggle, Inc.


3.05.00 Safety In Numbers, New York, NY

with Timeblind

3.01.00 Invisible Cities @ Brownies, New York, NY

Todd Hymen (Carpark)'s defunct weekly was my first-ever performance as Caural


My first recollection of music is sitting on the couch or on the plush, white shag rug in my living room and listening in awe to my parents' records from a pair of then-enormous speakers. My dad was a bit of an audiophile at the time and I was incredibly lucky that both my mom and he had such a discerning and eclectic taste in music. In between the speakers was a piano and, when I was three, my first drum set was placed in the room next to the fireplace- at least, until I drove my parents bananas and it was moved to the basement. My cousin Andy was my age and had a Casio keyboard- a little PT-80 (the kind that came with a ROM card which would play "Greensleeves" and other hits) - and I immediately wanted one out of jealousy.

Andy was my first musical partner-in-crime, and we had worked on recordings together briefly (around the ages of 4 and 5). He'd play piano, and I'd bang on things or use my snare drum to keep rhythm; eventually, we'd include random sounds from toys or flushing toilets and such, and I've decided that finding the one surviving cassette of this music will become my life's goal. Unfortunately, it seems to have disappeared into the ether.
My across-the-street neighbor and oldest friend Stuart Bogie - whom I met when I was two and before I could walk or talk - quickly became the most important influence on me as a surrogate older brother and fellow musician. Our first recordings were done in my basement using a Fisher-Price cassette recorder set-up on the stairwell.

Influenced by the "Beat Street" soundtrack, Thomas Dolby, and some other early 80's hip-hop, Stuart would rap over the pre-programmed beats on my Casio about everything from Roald Dahl's book The Twits and the benefits of smoke detectors, to Mister Rogers' character Lady Elaine and how robots like to dance. Meanwhile, I'd improvise random notes on the keys, strum a guitar I didn't yet know how to play, and attempt to solo on my sparkly blue Remo drums. "1984," the opening song on my debut album for Toshoklabs, was a recording he and I made in that year. We called ourselves "The Ultraviolets."

A few years later, when I was nine and Stuart was eleven, we pulled an all-nighter and recorded three songs on a Radio Shack 4-channel mixer in his basement. By this point, the beats had been upgraded to a Boss drum machine, Stuart had gotten a new keyboard, and I had actually learned to play guitar well enough to rock-out on about ten chords. This time it was me on the microphone singing about what only a 9 year-old could imagine about love and life, but Stuart assured me the pre-pubescent girls at Interlochen (a music school he attended that summer) were enamored with us.

And so things kept progressing: armed with Stuart's Yamaha drum machine and my first electric guitar, we were recording these half new wave/ half punk songs in his living room, and played our first concert- billed as "Stuart and His Neighbor"- in Joshua "Kit" Clayton's basement in north Evanston. Noah Sheldon (drums) and Gabe Shuford (keyboards) from a popular high school band called Truth sat in with us. I was in eighth grade at the time and - admiring local high school bands like Avocado Jungle Fuzz and Billingsgate who had released their own cassettes - we were inspired to make something happen.

Through marching band, Stuart met a drummer named Andrew Kitchen, and Andrew recommended his friend Eric Perney to play with us; Eric was a guitarist at the time and basically learned to play bass when he joined! I was an assistant to a DJ named Eric St. Claire on Northwestern University's radio station WNUR, and would pull records for him during his sets on Wednesday nights. It was he who recommended we call ourselves "Belt Buckle," which I thought was a pretty hot moniker. When my mom picked Stuart and me up from one of our rehearsals at Andrew's and asked what we were called, she laughed and said "Belt Buckle" was the stupidest name she had ever heard. Jokingly, she said, "you may as well call yourselves ‘Transmission'!" Well, we took her advice, and our first full band was born.

It was now 1991, and I was a freshman in high school. At this time, there was an after-school club at my school named Sound Exposure sponsored by an Elektra Records employee named Nan Warshaw (who now runs Bloodshot Records in Chicago). The one venue for high school bands in Evanston - Prism Gallery on Davis Street - closed that October, so Sound Exposure made most of our first gigs possible. Typically, they'd be held in a church auditorium where we'd play alongside bands like Prophets of Rage, The Dreavs, Naugahyde Nation, Dragonfly (a prog band Andrew also played in), and a slew of ultimately forgettable high school bands fumbling through songs by Nirvana and the Red Hot Chili Peppers. Lousy cover versions aside, it was a truly exciting time!

With Stuart as our lead-screamer, our music ran the gamut of punk, jazz-fusion, and King Crimson-inspired odd-timed Prog Rock complete with lots of feedback, gratuitous drum fills, and wailing on the sax and clarinet. We had some great live shows, but our one surviving studio recording from that year is a terribly embarrassing number called "Black and White." It basically sounded like John Tesh meets Metallica: I don't know what we were thinking.

A little better was our first release a year later: a cassette-only EP called Black Angus King Size recorded in Chicago while Stuart was away at Interlochen. On the recording was a new singer named Christian Champagne, Eli Kelly on Trumpet and vocals, Gabe Shuford on keyboards, and a horn section consisting of Jason Hunt, Jacob Croegaert, and Keith Kreuser. I think the problem was that we were really a live band and, again, this recording again sounded pretty stiff. Regardless, we were getting better, and the next year we did a few shows when Stuart would return from his freshman year at University of Michigan. Our final show was in May of 1994 at the Francis Parker school in Chicago, and that summer we recorded You're The King (named after the phrase our engineer - Scott Thomas at Gravity Studios - would say before or after we'd do a take). It was our second EP, and some of the last work we'd do together as Eric and Andrew joined Stuart in Ann Arbor, and Transmission entered a second incarnation with saxophonist Colin Stetson.

The horn section on Black Angus King Size had formed a rock group named Shag with their friend Billy Melody on vocals and, when they eventually kicked him out, I took his place; however, almost immediately, the music changed drastically. We began working with an emcee named Andrew Reece and played live hip-hop. There was a little bit of rock left in the sound, and the first recording we made in December of that year (also at Gravity Studios) included a full-on rock song which I eventually sampled to create "In Between Thoughts" on my Paint EP for Chocolate Industries. Soon, we were opening for bands like Rubberroom (two members of which later formed The Opus) in bars where we were too young to buy a drink, and we were often so high the songs' tempos were in quicksand. It was really a lot of exploration within that limited hip-hop framework, and it remained that way throughout the years that followed.

In 1996 as Transmission played avant-garde jazz in Ann Arbor and Jacob, Keith, and Jason continued on in Chicago, I began studies at Wesleyan University in Connecticut. Having left film school behind, I dove headfirst and quite fully into music, studying Indonesian Gamelan and jazz guitar and improvisation with Anthony Braxton, who I was doubly lucky to have as both a teacher and a faculty advisor. I'd lock myself in my room and practice, or sit in the library and listen to dozens of records by experimental giants like Stockhausen, Subotnick, John Cage, and Alvin Lucier (who also taught there). I saw La Monte Young's piece "Music for Tables and Chairs" performed by Lucier's experimental music class, and was just so excited to be part of what was a very talented music community. Unfortunately, Middletown, Connecticut was quite possibly the most depressing town I've ever visited and, after dropping out a month into the spring semester and returning home, I relocated to New York to attend NYU.

It was at NYU where my interest in creating electronic music deepened. I was interning at Asphodel Records - which released music by DJ Spooky, We, The X-Ecutioners (formerly X-Men), etc. - and I was also becoming more and more entrenched in the whole contemporary electronic music scene that was going on: I was a card-carrying IDM list-member and all. My friend James Hayford and I worked on his MPC on one of my breaks from school, and I think that may have sealed the deal. So, after being so inspired from my semester abroad (Semester at Sea) and the resulting culture shock of returning to America, I bought a Yamaha SU700, which is the machine I have used to this day. While traveling in Spain with my family immediately after the program, my mom invented my moniker, Caural, just as she had named my first band. I was trying to think of a naturally occurring phenomenon or object to use as a metaphor for sampling - something that feeds off of something else but exists in a symbiotic relationship with its prey - and she thought of a coral reef. Its spelling includes "aural" for sound. Its second meaning is more abstract, but involves deconstructing the word into two parts: [C] + [Aural], which can then be [See] + [Sound]. Evoking imagery and acknowledging the lack of borders between artistic mediums is important to me; ideally, music should be seen as well as heard.

It was 1999, and I had finished my first four songs in the few months of owning a sampler: "Glow In The Dark," "Moonboots," "Blue Green Value Five," and "Pieces of a Broken Glass God." I sent them off to my friend and mentor Peter Becker [with whom I worked at Asphodel] for advice, and he played them for the NY boutique label Toshoklabs' head Nate Harrison. Nate got in touch with me about doing a 12" (I was completely blown away!), and then it snowballed into my first album, Initial Experiments in 3D. It was finished in 1999, and sadly wasn't released until summer of 2001 due to multiple album cover designs!

At the same time, I was working with a producer named Matt Siebert (aka DJ Lok), Keith, Jacob, and Jason on a debut album for a relatively new Chicago emcee named Kenny Jenkins (aka Diverse). We had finished all but a couple songs when he was introduced to Seven at Chocolate Industries. To make a long story short, all the music we had done together was scrapped along with his live show, and he went to work on a new debut album. And, it was through Matt & Kenny that I, too, hooked up with Seven and Chocolate Industries in mid-2000 to release Paint, Stars on My Ceiling and Blurred July.

My few years in Chicago following school took me through a lot of changes, the most monumental of which was losing my mother to cancer; I feel the biggest subconscious - perhaps transcendent - motivation for my move home was to be there for her and my family. Most ironically of all, the moment I decided to stay the extra year before moving back to NY was when she became sick: July of 2002. I had moved with Keith, Jacob, and Jason into an apartment which doubled as a recording studio and practice space. Almost every night, I'd be cooking in the kitchen wearing ear-plugs while a random list of emcees and musicians would run through songs in a sea of blunt smoke and beer bottles, but it was an exciting time. Unfortunately, I had no idea how serious my mother's sickness was until that December.

I had been working on some new Caural material - as well as the Boy King Islands project with my roommate Jason - but my fragile mood crept way too easily into the music. My mother passed in February, and by September of that year I was back in NY, trying to get back on my feet. I had always kept those songs separate from the ones I started working on once I was back in NY (away from the emotionally-most-difficult year of my life) and dove headfirst into a lot of remix work throughout 2004. As time passed, I grew to like that music and felt it was coherent enough as a whole. Those songs, plus three older ones ("Mouth," "Insect Headphones," and "Non Art") became the collection Remembering Today, named after the intense feelings of deja-vu I'd been having throughout my mother's sickness and my eventual move back to NY: nothing surprised me any longer and, at every new juncture, it seemed I actually remembered the present as it happened (I remembered [today]).

Since I didn't want to tout the project as a proper new album, I thought it would be fun to release it only in Japan on P-Vine while shopping my new songs around domestically. Well, when I sent Mush the new material I had been working on in 2005, they offered to license Remembering Today as well; I couldn't refuse.

Shortly after signing a two-album deal with Mush and finishing a Japanese tour through P-Vine, I began working with my then-label mate Busdriver on his live set. I was flown to LA in the beginning of 2006 and holed up at his place, sifting through audio provided to me by his producers (Paris Zax, Thavius Beck, Daedelus, Omid, etc.). Over the course of three days, I remixed his material in a way I was able to play new interpretations of it fully live, and we began our first tour together opening for Aceyalone & RJD2 at the El Ray Theatre in Los Angeles.

That year marked a real shift for me, as I was on the road more than ever and feeling completely scattered. Between tours and spot dates with Busdriver, I finished my next album, Mirrors for Eyes, by early summer, and toured behind it through the fall both solo and with Busdriver across America and France. Though things were better than ever for me musically, I was reaching a breaking point; For lack of a better term, perhaps it was my "Saturn's return." That winter, I decided I wanted a change and, beginning in January of 2007, I started thinking about ways to make it happen.

We hit the road with Deerhoof and the Harlem Shakes, played the Coachella Valley Music Festival, and then did a prematurely aborted tour with CocoRosie. Only two weeks later, I packed up my stuff and, after doing a sabbatical of sorts - an organic farming fellowship in Connecticut - I moved home to Chicago. Other than a couple remixes, I hadn't worked on a proper Caural track in over a year, so I devoted myself to making the most involved sound piece I've ever done, and dedicated to my touring mate and friend Regan Farquhar (aka Busdriver): "Sorry, Underground Hip-Hop Happened Ten Years Ago (for Regan)." Over that cold winter, I revisited all of my rap albums and extracted every occurence of the word "yo," then arranged the resulting 450 or so individual samples in a rhythmic context; The whole process took in excess of 3 months!

The next year, I completed two new songs, "Dragon Top" and "Sugar Cane Girlfriend," and began working on a live set with friend Keith Kreuser aka K-Kruz. It was completely improvised with him on an MPC and me on the Yamaha SU700: that's it. No loops, no computers, no smoke and mirrors. At the same time, I really started diving headfirst into what had been a side project for years: Boy King Islands. Jason and I had completed a number of songs over roughly four years, and when we started writing and mixing new material together, we wound up remixing all of the old stuff as well and paring down the album.

As an artist at this point, I am more interested in collaborating again and interested in having my music include more than just sound; ironically, as expressed through my name, this was my goal from the beginning. Finally, just over ten years later, I think I am finally understanding how to manifest that for you...