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F-Space


"Conceptual / visual artist Scot Jenerik and Savage Republic guitarist/oil-drum ignighter Ethan Port are the proficiently preternatural, prodigiously provocative, and pungently primal pyro-perpetrators who primarily manifest F-Space's seething sepulchral sound of post Industrial-Punk. Densely subterranean tribal percussion, resonating Middle Eastern guitar, atmospheric ambience, and dissonant metallic clanging reminiscent of Einsturzende Neubauten and Throbbing Gristle immerse you into a cataclysmic realm of subtle beauty and extreme chaos. As the consummate performance artists, F-Space is the mastermind behind the optically enchanting and aurally subversive "How To Destroy the Universe Festival" (as co-presented by KFJC)! is a violent sacrificial escapade well worth the adventure."
-KFJC.org Review

East Bay Express Review of "Preliminary Impact Report" CD
http://mobilization.com/artists/fspace/press/pir_reviews/index.html

"From ages sixteen to eighteen, I had a recurring dream about Armageddon, standing unafraid as buildings toppled down around me and finally right on top of me. "Preliminary Impact Report", the first disc from this San Francisco experimental art-rock collective, recalls those images. Comprising ex-Savage Republic guitarist Ethan Port, local experimental artist Scot Jenerik, and Chrome drummer Aleph Kali, F-SPACE immediately challenges your ears with a bass-heavy stereo gurgle -- rooted in the eviscerating atmospherics of experimental icon Keiji Haino -- accompanied by chugging drums and mild ambient flourishes. One of the more intriguing textures layered atop comes from a hollow percussive instrument that seemingly spits fire when struck.
Within this aural molten mass there are quieter, mellower sections, carrying the album in waves from one mostly instrumental piece to the next. But what really stands out is Port's Middle Eastern-tinged guitar sensibilities, a crucial element of Savage Republic's seminal ProtoIndustrialPunk sound. Some view PIR as the statement Savage Republic never made: a vivid portrayal of destruction, beauty, and simplicity. As stale as instrumental music's gotten lately, F-Space offers something to look forward to. Even if it's Armageddon."
-kyote23 (Anthony Reynaga )

"i'm in no way, shape or form a writer or a music critic (i just know what i like when i hear it) but here i go... i find this disc to be wonderfully majestic. brutal at times then ethereal at others. beautiful guitar and percussion intertwined to make a great sonic soundscape to play in my dreams...
now go to mobilization and if i remember correctly there are some sample tracks there so you can get a real feel for this fantastic album."
-randy
FULL SPEED AND PAGAN

http://mobilization.com/artists/fspace/performances/2003_12_7_desroy1_sfbg_com%20%20Local%20Live_Camille_T_Taiara.htm
Live show review of How to Destroy the Universe - Part 1

"Then came the moment I'd been waiting for. F-Space battered the unsuspecting audience with a wall of noise. Port's instrumentation on an electric 12-string maintained the breakneck speed and ominous tones of early Savage Republic. He'd loop a string of notes into a mixer, then switch guitars, or forsake them for a homemade instrument created out of two thick metal springs stretched along the length of a four-foot-long segment of pipe, which he alternately beat on and picked up and let drop to the floor.
Jenerik used drumsticks and even a violin bow to elicit the most raw and, at times, excruciating sounds from a similar instrument propped on a metal sawhorse. Kali added the energy of a runaway locomotive on drums.
The result was apocalyptic: the music summoned a feral, destructive trance state that implied a catastrophic act of nature, a march through the desert on the path to war, or the offender's mental state during a crime of passion."
-(Camille T. Taiara) SFBG Dec 17, 2003

"F Space absolutely killed! Got to the show about 11:30 pm and heard the last part of Los Creepers energetic set. Catchy, punky rockrockrock! Long gap then Spindrift. Maybe the less than stellar acoustics of the warehouse space (or my beer consumption) blunted a bunch of subtle nuances but their long noodling instrumentals didn't do much for me except for one sloooow and dreamy Ventures cover. Extra points for the gals in fringe vests and Indian headdresses shaking tambourines on stage though.
Jet Fuel up next and made even less of an impression. Side note to Mr. Fuhrmann: The entire East Los Latina art-babe contingent was out in full force. Pollyanne Hornbeck sez "hi".
Then F Space threw it into drive and nobody knew what hit 'em! Scott Jenerik, playing his various percussion contraptions, and drummer Aleph Kali established a complete rhythm lock pounding out patterns of amazing intricacy and intensity while Ethan added snaky melodies and sheets of texture with his guitar armada. The hall had too much flammable stuff for them to go totally apeshit with the pyrotechnics but Scott did fire up one of his smaller devices that shot out bursts of propane flame as it was played kinda like the time Granny's stove exploded. All this at a volume level that at times made early Swans sound like Raffi and sent the lightweights heading for the hills. Overall a stunning display of sonic ferocity and beauty the likes of which L.A. hasn't seen in quite a spell.
Special thanks to Jason Heath for putting on such a swell party!"
-Review of the Festive Meltdown by Greg Grunke