Flood Damage is the brainchild of myself, your humble webmaster, Michael Rose, and has been primarily a solo project since it's inception. In 1995-96, after recently discovering the umbrella term that is "industrial music," I set to work. Deep in my parents' basement, I worked on odd little sonic experiments and learned to use my keyboard not only as a paperweight, but as a audio "weapon." In May of 1996, "My Project - Vast and Dark Machine" was released on cassette to a few friends who I decided probably wouldn't throw things at me. It was terrible, in both quality of recording and quality of songwriting, but it was a start, and besides, there was a semi-interesting metal sculpture to go along with it. 

On Halloween 1997, the second cassette, and the first to be labeled a flood damage release was born. 1001 Human Atrocities was put out on cassette, and once again sold primarily to friends, drugged out local pagans, and well-wishers. The songs were getting better, but the recording quality was still awful. This does mark the first time that any attention was really paid to the possibilities of making halfway decent music however, as Coby Bassett (ex Hate Dept. guitarist) received a copy and found several tracks which he actually enjoyed. He was later tested for chemical exposure. I now consider this a learning experience, as it was my first experimentation with digital media, rather than strictly doing everything with a cheap analog 4-track Fostex x-18 recorder.

Fast-forward to September 2001, where after four years of work (and four years of college) a CD of some actual quality, underlife was released to much hoo-ha-ing and rejoicing by the populace. Everything is now done digitally, and the songs have actual riffs, hooks, and orchestrations. Don't count on any pop music however... there's still plenty of sonic experimentation going on in thee damaged one's work. 

I get tired of doing the same thing over and over, so you'll hear genres from typical industrial to club tracks, classical to experimental soundscapes, and even an alternative rap with ridiculous lyrics. (We rivetheads take ourselves way too seriously sometimes. I think it lightens the mood nicely.

Now wanting to be a famous rock-star, actor, writer, filmmaker, and pro-wrestler, I spend my time spreading myself to thin on too many projects, and trying to look like a rock star. Looks like I finally made it somewhere though, having secured a slot for two of my new songs on NOTES FROM THEE REAL UNDERGROUND Vol. 3 from the greatest label in the universe, INVISIBLE! (Yes, that's the same label run by Pigface CEO Martin Atkins!!!)

And now for some shameless self-promotion about underlife, here are some things that have been said about it:

It's really wicked! Quite original and intelligent too. ---MEG LEE CHIN (Goddess/Musical genius)

Cool! What a mad style you have! ---Concept 7 (Band)

There is some really great stuff here! I will listen to this again and again. --- Bill Harbort (Professor of Art, MSU)

I don't usually like "industrial," but this kicks ass! --- xB.J.x Moore (Owner of the Liberty, punk rock club)

Very cool!  Obviously, I hear the electronic NIN-ish influences, but then there's also those complicated instrumentals and really weird experimental stuff... Good work! --- The Fleshpeddlers (Band)

In 2004, Flood Damage began a relationship with the record label Innervenus in Pittsburgh PA, a wonderful group run by musicians and artists who truly understand the nature of making music for the sheer love of it. After being featured on the Innervenus compilation Ursa Major, Flood Damage submitted yet another song for the next Innervenus compilation due out in mid 2004. Talks of a full length or at the very least, an EP or split have begun, and it seems that the world is finally ready for the damage to be unleashed. Prepare yourself... the damage is here.

Please write with any comments, and if you'd like to order your own copy of underlife, or either comp. just click Buy CD!