Jon Borges began Pedestrian Deposit in the Winter of 2000, with the concept of combining layers of electronic sound with no pre-determined relation to one another until mixed. The project slowly evolved to incorporate elements of harsh noise, tape collage, field recordings and glitch music, resulting in a prolific few years of rich and dynamic compositions on such labels as Hospital Productions, Hanson Records and Jon’s own label, Monorail Trespassing, to name a few. After a few years hiatus, Pedestrian Deposit returned in the fall of 2008 with the addition of t and visual.
Jon Borges began Pedestrian Deposit in the Winter of 2000, with the concept of combining layers of electronic sound with no pre-determined relation to one another until mixed. RRRecords RRR-001 2004 The Cherry Point + Pedestrian Deposit - Blood Orphanage (Cass, Ltd, C8) Troniks TRO-124 2004 Clandestine (CDr, Ltd) Lame Cunts Imagination none 2005 Ex-Jesus Pedestrian Deposit - Ex-Jesus Pedestrian Deposit (Cass, Ltd, C10) Monorail Trespassing mt30cs 2005 Eternal (Cass, Ltd, C10) Hospital Productions HOS-120 2005 Impregnable, Pedestrian Deposit - Forlorn (Endless Longing) (Cass, Ltd
ARTIST: Pedestrian Deposit. ALBUM, TITLE: Дискография. Release year, date: 2001 - 2015. 01. Pedestrian Deposit - Girl On Bicycle (04:02) 02. Armenia - La Mejor Banda De Ecuador, Sin Lugar A Dudas (03:59). 2003 - Split with The Cherry Point. Pedestrian Deposit - Black Ponytail (05:41) 02. Pedestrian Deposit - You've Smeared Your Lipstick (04:22) 03. The Cherry Point - Makeout Music (10:11). Pedestrian Deposit - Near (09:35) 02. Pedestrian Deposit - Lilium (09:43). 2004 - Foreshadowing (with Oscillating Innards).
Listen to music from Pedestrian Deposit like You Can't Help Me, Textile & more. Find the latest tracks, albums, and images from Pedestrian Deposit. The collaborative work of Jonathan Borges and Shannon Kennedy of Pedestrian Deposit could be described as highly composed, often abstract sound textures combined to create dynamic experimental music that draws on the duo’s widely contrasting auditory obsessions. Borges’ use of crude yet disciplined electronics, tape loops, field recordings, and controlled feedback manipulation contrasts against Shannon’s use of self-designed stringed instruments, bowing techniques and amplified wood and metal, resulting in music that is both raw and refined.