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sav'age, adj.

2. wild; untamed; fierce

au'ral, adj.

1. relating to the ear

hot'bed, n.

1. a bed of earth heated artificially...for growing plants in a cool or temperate environment...in a figurative sense, any place that fosters rapid growth or development

Savage Aural Hotbed, grp.

1. a place where wild sounds grow

2. four people who can't seem to use containers, auto parts or power tools in the intended manner

"...the sound of steel and rust, oil drums and hubcaps, screeches, sparks, grinders and gears finding new fury and energy... It's also fun, it makes you smile to see a man make music with an electric saw..."

— Scott Simon, Weekend Edition, National Public Radio

"Blasts us into the next stratosphere, combining raw and raucous sound and performance"

— John Killacky, Curator Performing Arts, Walker Art Center

"...maddened drumming...that set the whole room throbbing like a pinched artery..."

— Karen Wineger, Minneapolis Star Tribune

"...Even a smoldering power-tool became a fitting prop for these industrial rhythm-a-tists. Come watch as they abuse oil drums, sheet metal, and PVC tubing in a most immacualte manner..."

— Keith Goetzman, Twin Cities Reader

Savage Aural Hotbed creates their compelling sound using conventional and "found object" percussion instruments, bass guitar, electronically modified horns and vocals, and power tools. With up to four people drumming, they provide visual, as well as aural excitement with their high energy rhythms, flailing arms, and flying sparks. The precise, percussive sound of Savage Aural Hotbed is inspired by many influences, most notably Japanese Taiko drumming, and the cutting-edge (sometimes literally, they use saws and grinders on stage) innovation of Industrial. Other influences include diverse styles such as modern minimalist, and many ethnic styles.

A '90s industrial band with nary a heavy-metal riff nor computer-oriented beat to be seen, Savage Aural Hotbed formed in 1986 playing the same electronic body music as their contemporaries. The influence of Japanese Taiko drumming, however, led percussionists Mark Black, Stuart DeVaan, David Sarrazin and Valts Treibergs (plus bassist/vocalist William Melton) to begin playing music with more organic qualities -- as though Einsturzende Neubaten used Asian percussion instruments instead of metallic objects. As the group fine-tuned their live show during the early '90s -- playing at Minneapolis' Walker Art Center, the Hennepin Center for the Arts, and running their original music-theater pieces Bio-Robot (Ressurection) and Alkahest (Audio Solvent) at the Red Eye Theatre -- they began to explore found-sound instruments more traditionally American, such as hubcaps and major appliances. After releasing a cassette of their work titled Gomi Daiko (Garbage Drums), Savage Aural Hotbed signed to Minneapolis' own Twintone Records and released Cold Is the Absence of Heat in 1996. One year later, the quintet returned with Pressure of Silence. [John Bush]