U.S.E.

Since 2002, U.S.E. has forced critical and populous audiences alike into fits of euphoric dancing with their life-affirming, rock-based interpretation of electronica. Whether dominating frenzied clubs with Sir Mix-A-Lot, Junior Senior, Death Cab For Cutie and Aqueduct or overtaking arena shows with The Presidents of the United States of America, U.S.E. proffers the kind of four-on-the-floor beats and unbridled enthusiasm that put likeminded revelers Andrew W.K., Prince, Underworld and Daft Punk on the map. U.S.E. has hit upon a raw pop concoction all their own.

"U.S.E. rocks a house party like it's a stadium, and rocks a stadium like it's a house party," guitarist Jason Holstrom explains. Indeed, the band crushes audience/performer barriers through their celebratory take on nightlife anthems. From drummer Jon e. Rock's lyrical assassinations, to Peter Sali and Holstrom's dueling rock guitars, Noah Star Weaver's huge vocoder hooks, Amanda Okonek and Carly Jean Nicklaus' sultry, rum-soaked voices, Derek Chan laying down the fundamental on bass, and an incessant four-on-the-floor thumping from the drum machine, U.S.E. annihilates the line between on and off-stage party.

U.S.E. was born in fun after several members jokingly posed as an imaginary electronic band from Mannheim, Germany at a Seattle nightclub, but the septet got serious very quickly after they realized they'd concocted fierce dance gems that made their enraptured audience move. "Whether there were 5 or 500 people there, people said they were having the time of their lives, " recalls Holstrom.

In step with the true organic spirit that still drives U.S.E's positive philosophy, the band self-released three songs in hand-spray painted packaging in 2002 before dropping their full-length two years later. Although approached by numerous independent and major labels, to date, U.S.E. has produced, recorded, mixed and released every record themselves (aside from 2003's self-titled 12" on indie B-Side Records).