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Grand Blanc, MI  USA
December 15, 2003
343,417 plays
Celldweller the concept born from experiences of personal and cultural bondage along with the creators near 24-7 dwelling in his former basement studio. Klayton, the man behind the machine, originally created the moniker as a producer pseudonym. However, after retiring his previous band, the 90s cult industrial act Circle of Dust, he adopted Celldweller as his defining outlet. The Celldweller live show is designed to be a fusion of modern technology, performance art and theatrics combined with key elements of electronic music, rave culture and the raw energy of a rock show. The non-traditional performance is augmented by audio/visual segments, percussive performance pieces and music that is unique to the live show.
Band/artist history
The artist, performer, producer, songwriter, programmer and re-mixer Klayton has an extensive musical history beginning in the early nineties. His original band Circle of Dust released three albums (Circle of Dust, Brainchild, Disengage), sold nearly 40,000 units and brought the energy of the music to the stage as they toured to support each release. Klayton has also worked on numerous projects (Argyle Park, Prong, Criss Angel, Chatterbox, Level, Klank, etc.) He co-wrote, programmed and re-mixed tracks from the Prong Rude Awakening album and co-produced London Dungeon, the Prong track for the Misfits tribute album.
Anything else?
Developed as an agent of contrast the New York based Celldweller combines the electronic and the organic, darkness and beauty, aggression against sensuality, with the ability to find its home in the mosh pit as easily as on the djs turntable. Celldweller naturally juxtaposes many textures and elements while keeping a unifying theme. The debut album ranges from the guitar-based electronic rock of Stay With Me (Unlikely) and Switchback to the unique blending of heavily distorted guitars and aggression with drum & bass and trance in The Last Firstborn and One Good Reason. The styles are further contrasted by the electro-orchestral Depeche Mode-esque So Sorry to Say and the hauntingly beautiful down tempo track Welcome to the End.
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