BioThe Fast Computers were born out of strife. Jennifer Fox assailed Peter Dean with mixed tapes of The Buzzcocks, ABBA, Serge Gainsbourg and Morrisey; Peter vlleyed back with cds of Pulp, ELO, Spiritualized and a complete Queen anthology. After their incredulity with each other's musical taste subsided, a begrudging truce evolved into an ambitious plot to merge their disparate musical pedigrees into a sound with a life all its own under the moniker Fast Computers.
While Peter was always the self-proclaimed mastermind of the Fast Computers universe, he had yet to convince the rest of the world of his sinular greatness. One hundred songs later, howver, Jennifer was a convert and soon strangers would join suit.
Held under self-confinement in a basement in Chicago, Jennifer intently studied cassette tapes of Keith Moon and Janet Weiss like they were some kind of lady pornography. Convinced she could absorb the ability to play drums through a sheer force of will, Jennifer's savant-like determination soon brought Peter in accord. When Jennifer's drumming was mixed with Peters mastery of electric piano, synthesizer and all things that go 'beep', magic happened.
Like so many pioneers before them, the Fast Computers grew weary of the flatness of the Midwest and followed the Oregon Trail seeking their destiny in the twilight zone between Eugene and Portland. The unprocessed hopefulness and unstained innocence conveyed on their first EP, entitled SP (2005), could have almost convinced the listener that their adolescent aesthetic was purposeful. Undaunted, the Computers' somewhat awkward advances only seemed to make the audiences fall more deeply in love with their ripening sound.
Oregon's legendary mists soon brought to flower the Fast Computers final members, seasoned Potland synthesist and guitarist Brenna Sheridan (Man of the Year) and bassist Andrew Stern.
Now as evenly balanced as the quadratic equation, the Fast Computers set out on a massive 16-month recording project spanning half a dozen west coast studios and twice as many engineers. Mixed by Tony Lash (Elliot Smith, Stars of Track and Field, The Dandy Warhols) and mastered by Jeff Stuart Salzman (Death Cab for Cutie, Stephen Malkmus, Sleater-Kinney), Heart Geometry is the Fast Computer's first full-lenghth recording.
Shimmering songwriting, beautiful yet bittersweet lyrics, lush layers of instrumentation, and a host of guest appearances provide proof that could machines can truly give warmth to all who will listen. True to Dean and Fox's early vision, Heart Geometry creates a space filled with cinematic scores and depictions of hopefulness within a time of commercialized monotony.