Daniel Joseph - throat and tape manipulation Peter Gauss - guitars Koji Shimizu - bass Marc Grubstein - drums Paul Weston - keyboards, sampling and other gadgets Pink Sock began as an art project. Then it became an excuse to get together with friends and make loud noises and let off some steam. Now it has evolved into it's own entity- we just do what we are told... Pink Sock as Sound Collage- The idea that songs or music can be layered with many sounds to create something robust and intelligent - something entirely different from what it started. Sounds originate from everywhere such as instruments, recorded static, a toy bullhorn, broken drums, computers, mistakes, street noise, a dogs bark, a cats meow, childhood nightmares, argumentative mornings and mundane influences - much the same way a visual artist would use peeling paint, clutches of information, wood grain Formica, dress patterns, blueprints, bad feelings, lonely cells, gallons of beer, tons of drugs, report cards, hidden agendas, porn, rain, library books, the bottom of your shoe (a fusion of bananas, zeros, and typecast smudges). It's a continuation of the theory developed by the Manipulationist Movement: The artwork itself is not built of restraint. Drifting in the ugly wake of the world, living on a globe so full of potential and noise, the visual sense of the movement carries an aura of transgression and apocalypse. As if they are endlessly sketching a rough draft to form chambers of light that overlap. A chorus of 'this is what we do and it's beautiful and it's terrible.' And, 'If nothing is new, then manipulate. If all has been done, then reinvent.' We believe in using limitations to our advantage- The idea that each of us has limitations - whether it be time, space, range, gear - and that these limitations define who we are as musicians and subsequently define who we are as a collective. It's taking these limitations and incorporating them into the overall sound instead of masking them and being something we are not.