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It's hard for a band to be frightening these days; if it seems like that's what they're trying to be, they're not going to be taken seriously and the most they can hope is that people will think they're campy. The fear has to work on lower, more visceral levels of consciousness, in inarticulable ways derived from key choices, chords, tempos, and textures. Somehow, Colossamite's dizzying blend of over-the-top hardcore punk anger, pure noise, and jazzy math rock acrobatics seems to inspire this kind of fear.

Colossamite's dissonant, difficult attack consists of three dueling needle-nosed guitars, a tornado of percussion, keyboards, sound manipulations, occasional strangled vocal yelps, and occasional ominous whispers. Most of the time the band attacks furiously; at times the storm subsides into gentle, delicate lulls, yet these seem all the more dangerous because they presage more terror. Terror, danger....These are the words Colossamite seems to spell out in flickering neon lights that glare at you from a dark urban night full of shady back-alley dealings, lowriders with black-tinted windows, streets filled with broken glass and trash, and a general atmosphere of sleazy apocalyptic doom.

Frontman Nick Sakes started Colossamite shortly after his old band, the St. Louis math rock combo Dazzling Killmen, broke up and he moved to Minneapolis. There he put an ad in the paper and soon met guitarist/keyboardist Ed Rodriguez, guitarist John Dieterich, and percussionist Chad Popple, all formerly of the band Gorge Trio. Colossamite has issued a three song CDEP, All Lingo's Clamor, a split seven-inch with White Tornado, and the 1998 full-length Economy of Motion, featuring the alarming, startlingly chaotic "Tooth of DaVinci."

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