One Ten Hundred Thousand Million may be more subtle and emotional than Identification Parade, but it's just as hooky, just as energetic and sometimes a whole lot noisier. Like the Young Marble Giants if they really were giants, with giant marble instruments-- charming, young, eccentric, honest, true, gentle giants among men. In the two years between records, Octopus Project have taken the barely controlled chaos of their live performance from coast to coast, playing hundreds of shows. When it came time to record again, the band had a clear idea of what they wanted-- a full-on, surround sound, 3-D, Technicolor studio amalgamation injected with the wild energy they felt in those noisy, tightly-packed clubs. Parts of One Ten Hundred Thousand Million were recorded in concrete stairwells. Other sounds were captured in nice rooms with padded walls and fancy recording equipment. Their reputation as the band that "hooked up their half-broken electronic sh*t all wrong" first attracted the attention of Peek-A-Boo Records in 2001, but actually seeing the band play their halfbroken electronic shit way, way too loud sealed the deal, and by the end of the weekend the label had agreed to release the band's brilliant debut, Identification Parade. To date they hold the honor of being the only band recruited to the label after only one show.
