Jack Dangers

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Биография:

Jack Dangers (born John Stephen Corrigan, 11 January 1965, in Swindon) is an electronic musician, DJ, producer, and remixer best known for his work as the primary member of Meat Beat Manifesto. He lives in San Francisco. Career

Prior to founding Meat Beat Manifesto together in 1987, Jack Dangers and Jonny Stephens were members of a short-lived group Perennial Divide. While Stephens remained a member for several years, Jack Dangers is the only person credited as a member of the band on every Meat Beat Manifesto release.

In addition to his career with Meat Beat Manifesto, Jack Dangers has also contributed other projects. Along with Mike Powell and Ben Stokes, he is a part of unusual breakbeat combo known simply as Tino. Tino material is released through their independent label, Tino Corp. Another collaboration called Loop Finder General was announced at one time, but the only recording that has surfaced under this name is a track on ¡Hello Friends!, a Jack Dangers DJ mix album primarily featuring Tino material.

As a remixer and producer, Dangers has collaborated with and reworked material for David Bowie, Nine Inch Nails, David Byrne, DJ Spooky, Depeche Mode, Coil, and many others.

Dangers is an avid collector of obscure audio and video material, and frequently employs samples from his collection of records and videotapes in his music and during live shows.

Dangers also collects vintage electronic hardware; he owns an EMS Synthi 100 modular system that he claims is the only known working model. This unit is featured prominently on RUOK?, released in 2002.

An activist for animal rights and a practicing vegan, Dangers has contributed (as part of Meat Beat Manifesto) to two benefit compilations for In Defense of Animals. He credits his active concern for these issues to fellow musicians Consolidated, for whom he has produced several albums and done a number of remixes.

Dangers has acute psoriatic arthritis, which makes it difficult for him to play many conventional instruments; consequently, many of the «real» instrument sounds on his records are accomplished electronically.

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