Founded in 2008, Triple Point - Pauline Oliveros, Doug Van Nort, Jonas Braasch - is an improvising trio whose core instrumentation is soprano saxophone, greis/electronics and V-accordion. The name refers to the point of equilibrium on a phase plot, which acts as metaphor for their style of improvisational dialogue. Their musical interaction is centered around an interplay between acoustics, physically-modeled acoustics (v-accordion) and electronics. Van Nort captures the sound of the other players on-the-fly, either transforming these in the moment to create blended textures or new sonic gestures, or holding them for return in the near future. Oliveros changes between timbres and "bends" the intended factory sound models through her idiosyncratic use of the virtual instrument, while Braasch explores extended techniques including long circular-breathing tones and multiphonics. This mode of interaction has resulted in situations where acoustic/electronic sources are indistinguishable without very careful listening, while others times this becomes wildly apparent. This continual, fluid morphing is a product of Deep Listening and living in the moment.
Daniel Hinds and Vico met during the dark days that were their shared experience of attending South Umpqua High School in southern Oregon. Pursuing their mutual interest in non-commercial forms of music, the two experimented with varying styles after graduation, with Dan handling the bass and Vico doing vocals.
Then, in 1991, Dan got an 8-bit sampler and some sequencing software and began putting together new, electronically-based songs. Wanting to keep the line-up as small as possible, he and Vico decided to abandon the traditional band line-up.
Using sampled synth-lines and drum-beats, the two sequenced together a few harsh industrial pieces and overlaid them with distorted guitar and vocals. Thumbing through a chemistry text, they happened on the name TRIPLE POINT and quickly adopted it for this new project. Once five decent (if primitive) recordings had been made, they released the first TRIPLE POINT demo, "Sublimation."
In 1993, Dan and Vico regrouped, bought some new equipment, and dove into making a new and better TRIPLE POINT recording. Around this time, Vico had started getting into the gothic scene and Dan was heavily into electronics. Thus, the resulting tape ("Complex") was all-electronic and featured the heavily atmospheric tracks "No Ordinary Psychosis" and "Appeal," along with screamingly upbeat tracks such as "Screening" and "Supereality."
Turning out even better than expected, "Complex" began to garner the band interest from around the world. Positive reviews in underground industrial 'zines helped out considerably, but it was the write-up in Alternative Press that really started the mail rolling in.
One of the most significant letters received was from artist/musician John Bergin, who offered praise and encouragement to the band. His kind words were taken to heart and helped spur the band on to write and record even better material.
Never satisfied, TRIPLE POINT had a couple of songs from their previous musical outings that they wanted to update and perfect. Taking a short instrumental called "Tasha," Vico added some lyrics, expanded the song and out came the neo-gothic cut, "Blackpool." Similarly, the song "Hate Is" was stripped of its guitar-tracks, sped up and turned into a synthpop anthem, and both tracks wound up on TRIPLE POINT's third demo, "Stolen."
"Stolen" further displayed the band's diversity and incorporated guitar on a few tracks, most notably the metallic title track. Low on funds, the recording wasn't the step forward they were hoping for, but it sufficed and the quality of material was stronger than ever. The cover art was provided by none other than John Bergin, who managed to reflect the chilling mood of the cassette perfectly.
1996 brought the band some new opportunities. The excellent gothic/industrial magazine Permission was putting together a compilation of electro bands doing their favorite TV theme songs. After contemplating "The Greatest American Hero," Triple Point decided on "Dynasty." The track turned out better than they expected and is available on a double-CD set called TV Terror, released in 1997 on Re-constriction Records.
1997 also saw the band's appearance on Undercurrent - PDX, a compilation of Oregon electo bands put together by Jester of Sonic-Boom fame and released on his new label, Doppler Effect. The song "Lorrie Pours Out," a more experimental piece that the duo wrote in the summer of '96, appears in a remixed form. The disc also features many notable electro outfits from around Oregon, including Thine Eyes, Violet Arcana, Mindvirus, Mesmer, SpineFolder, Attenuated Euphoria and many others.
In 1998, Triple Point made their third CD appearance, this time on the 2-CD compilation follow-up to Undercurrent called Resurgence. The band also had a track remixed by Laird Sheldahl of Thine Eyes appear on the Arts Industria comp. Silicon Warfare.
1999 was the big year for TRIPLE POINT, as the duo finally released their first full-length CD. Titled The Soul Den, the album features 9 original tracks, 1 cover and 3 remixes. One of the originals features lead vocals by Karen Kardell of The RaZor Skyline, one of Seattles' finest bands (check out either of their two COP Intl. albums). The remixes were done by Deadjump, Fire 99 and Thine Eyes, each giving the songs in question a unique twist. It has garnered some good reviews and a fair amount of radio airplay, as well as helping get the name TRIPLE POINT out into the public eye more.
The year 2000 brought another compilation appearance, this time Doppler Effect's Transcendence. Dan re-wrote the song "Stolen" specifically for this release, giving it a more up-to-date EBM feel. Later in the year, Dan also put together a more metal-oriented side project with guitarist Nels Bruckner, called Binding.
2001 got off to a slow start, but things started to get rolling once Dan and Vico hooked up with guitarist Tom Wilcox. The trio began working together over the summer, putting together several new songs that took advantage of Tom's playing skills. The new tracks kept alive the 3P spirit of diversity, including elements of everything form metal to freestyle dance to new wave, but the overall sound was finally becoming more cohesive. In addition, the vocal skills of Laura Light were employed on two tracks, namely "Glimpse" and the trance-guitar version of Depeche Mode's "It's No Good." The resulting album was titled Sleep in Sodom and was released June 1st (2002). The album art featured lovely photos of Ankha and the layout and artwork was put together by the highly talented Danielle Figel.
Sadly, 2002 also saw the demise of 3P. After attempting to put together a live show, the band turned toward writing new material and found a lack of inspiration both musically and lyrically. Trying to come up with anything new began to feel like work and it was clearly time to move on. New music in the future is still possible, though it will likely appear under a different name. Until then, Triple Point is complete.
Daniel Hinds and Vico met during the dark days that were their shared experience of attending South Umpqua High School in southern Oregon. Pursuing their mutual interest in non-commercial forms of music, the two experimented with varying styles after graduation, with Dan handling the bass and Vico doing vocals.
Then, in 1991, Dan got an 8-bit sampler and some sequencing software and began putting together new, electronically-based songs. Wanting to keep the line-up as small as possible, he and Vico decided to abandon the traditional band line-up.
Using sampled synth-lines and drum-beats, the two sequenced together a few harsh industrial pieces and overlaid them with distorted guitar and vocals. Thumbing through a chemistry text, they happened on the name TRIPLE POINT and quickly adopted it for this new project. Once five decent (if primitive) recordings had been made, they released the first TRIPLE POINT demo, "Sublimation."
In 1993, Dan and Vico regrouped, bought some new equipment, and dove into making a new and better TRIPLE POINT recording. Around this time, Vico had started getting into the gothic scene and Dan was heavily into electronics. Thus, the resulting tape ("Complex") was all-electronic and featured the heavily atmospheric tracks "No Ordinary Psychosis" and "Appeal," along with screamingly upbeat tracks such as "Screening" and "Supereality."
Turning out even better than expected, "Complex" began to garner the band interest from around the world. Positive reviews in underground industrial 'zines helped out considerably, but it was the write-up in Alternative Press that really started the mail rolling in.
One of the most significant letters received was from artist/musician John Bergin, who offered praise and encouragement to the band. His kind words were taken to heart and helped spur the band on to write and record even better material.
Never satisfied, TRIPLE POINT had a couple of songs from their previous musical outings that they wanted to update and perfect. Taking a short instrumental called "Tasha," Vico added some lyrics, expanded the song and out came the neo-gothic cut, "Blackpool." Similarly, the song "Hate Is" was stripped of its guitar-tracks, sped up and turned into a synthpop anthem, and both tracks wound up on TRIPLE POINT's third demo, "Stolen."
"Stolen" further displayed the band's diversity and incorporated guitar on a few tracks, most notably the metallic title track. Low on funds, the recording wasn't the step forward they were hoping for, but it sufficed and the quality of material was stronger than ever. The cover art was provided by none other than John Bergin, who managed to reflect the chilling mood of the cassette perfectly.
1996 brought the band some new opportunities. The excellent gothic/industrial magazine Permission was putting together a compilation of electro bands doing their favorite TV theme songs. After contemplating "The Greatest American Hero," Triple Point decided on "Dynasty." The track turned out better than they expected and is available on a double-CD set called TV Terror, released in 1997 on Re-constriction Records.
1997 also saw the band's appearance on Undercurrent - PDX, a compilation of Oregon electo bands put together by Jester of Sonic-Boom fame and released on his new label, Doppler Effect. The song "Lorrie Pours Out," a more experimental piece that the duo wrote in the summer of '96, appears in a remixed form. The disc also features many notable electro outfits from around Oregon, including Thine Eyes, Violet Arcana, Mindvirus, Mesmer, SpineFolder, Attenuated Euphoria and many others.
In 1998, Triple Point made their third CD appearance, this time on the 2-CD compilation follow-up to Undercurrent called Resurgence. The band also had a track remixed by Laird Sheldahl of Thine Eyes appear on the Arts Industria comp. Silicon Warfare.
1999 was the big year for TRIPLE POINT, as the duo finally released their first full-length CD. Titled The Soul Den, the album features 9 original tracks, 1 cover and 3 remixes. One of the originals features lead vocals by Karen Kardell of The RaZor Skyline, one of Seattles' finest bands (check out either of their two COP Intl. albums). The remixes were done by Deadjump, Fire 99 and Thine Eyes, each giving the songs in question a unique twist. It has garnered some good reviews and a fair amount of radio airplay, as well as helping get the name TRIPLE POINT out into the public eye more.
The year 2000 brought another compilation appearance, this time Doppler Effect's Transcendence. Dan re-wrote the song "Stolen" specifically for this release, giving it a more up-to-date EBM feel. Later in the year, Dan also put together a more metal-oriented side project with guitarist Nels Bruckner, called Binding.
2001 got off to a slow start, but things started to get rolling once Dan and Vico hooked up with guitarist Tom Wilcox. The trio began working together over the summer, putting together several new songs that took advantage of Tom's playing skills. The new tracks kept alive the 3P spirit of diversity, including elements of everything form metal to freestyle dance to new wave, but the overall sound was finally becoming more cohesive. In addition, the vocal skills of Laura Light were employed on two tracks, namely "Glimpse" and the trance-guitar version of Depeche Mode's "It's No Good." The resulting album was titled Sleep in Sodom and was released June 1st (2002). The album art featured lovely photos of Ankha and the layout and artwork was put together by the highly talented Danielle Figel.
Sadly, 2002 also saw the demise of 3P. After attempting to put together a live show, the band turned toward writing new material and found a lack of inspiration both musically and lyrically. Trying to come up with anything new began to feel like work and it was clearly time to move on. New music in the future is still possible, though it will likely appear under a different name. Until then, Triple Point is complete.