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Major Zed lives in rural New England with his wife, Dee-Dee (the Moon Goddess).  By day he is a mathematician for a New York-based financial firm.  He is a card-carrying member of the Libertarian Party.

He was raised in a musical family; Dad played the violin and Grandma banged out ragtime on the piano in the corner of the living room.  As a child he would fall asleep to music ranging from Tchaikovsky to Gilbert & Sullivan.

His youthful Top 40 follow-the-crowdy musical sensibilities were shattered when his friend Jeff (now deceased, and mentioned in "Wish They Were Here") introduced him to Simeon & Taylor's Silver Apples and The Mothers' Freak Out.  The final push over the edge was when his friend Gloomer Woop played him King Crimson's Larks' Tongues in Aspic.  Progressive Rock and Electronica became the two poles of his musical space, and he consumed as much Tangerine Dream, ELP, Kraftwerk, and Yes as he could.

While he watched a particularly boring State of the Union address at Gloomer's house, an insistent 8-note riff implanted itself in his brain's musical playback circuits and would not let go.  (Eventually, he determined it was a B Major / C# Major arpeggio - terms he was not familiar with at the time.)  Thus began his composing career.  After much learning and  effort, his first piece, Aftermath, was recorded.

Fast forward, past the kit-built synthesizer, multiple tape decks, and the ARP 2600 in the basement at school.  Past the wasteland of 80's popular music, where he flirted with Country for a year, then settled on Jazz and Fusion from the college radio station.  In the 90's, college radio reawakened his interest in electronica, introducing him to Future Sound of London, Underworld, and DJ Shadow.  

Then two pieces of technology came along: a software program from Sonic Foundry (now Sony) called ACID, and a web site called MP3.com.  Suddenly, there was a much easier way to get the music out of his head and into a recorded medium, and there was a place to put it as well.  Props to Carbon Based Lifeforms, B-Field, and Mystique Silence for showing the way.  In the year 2000, Major Zed went public.

18 special albums have had considerable influence on him.  Of course the obvious standards (Beatles, Pink Floyd, U2, Nirvana, Radiohead, blah blah blah) need not be mentioned.  The Special 18 are:
  • II by Led Zeppelin (1969)

  • Tarkus by Emerson, Lake, and Palmer (1970)

  • Tubular Bells by Mike Oldfield (1973)

  • Larks' Tongues in Aspic by King Crimson (1973)

  • Moontan by Golden Earring (1973)

  • Visions of the Emerald Beyond by Mahavishnu Orchestra (1974)

  • Stratosfear by Tangerine Dream (1976)

  • Joe's Garage by Frank Zappa (1979)

  • Oasis by Kitaro (1979)

  • Drama by Yes (1980)

  • Aura by Miles Davis (1985)

  • Lifeforms by Future Sound of London (1994)

  • Aenima by tool (1996)

  • Endtroducing by DJ Shadow (1996)

  • Imaginary Day by Pat Metheny (1997)

  • The Virgin Suicides by Air (2000)

  • In Absentia by Porcupine Tree (2002)

  • Office of Strategic Influence by O.S.I. (2003)

Other than collaborative work with the Interröbang Cartel (and the occasional guest vocalist), Major Zed is responsible for all aspects of his music: composing, arranging, keyboards, electric guitar, synthesizers, vocals, drum programming, loop programming, producing, and engineering.  

He produced what might be his last song, Rock In My Shoe, in 2010.  Since then he has concentrated on digital art and video/animation projects.