The end of ninteen ninty one Washington DC Jasons Cure/Smiths rip off band, Deep, had just broken up. After answering ads for bands looking for new singers, Jason soon realized that nothing was going to work with the people he was currently jamming with. He then decided that he was going to start up his own band, and put in his own ads for it. While waiting for replies, Jason and Nathan Camfiord (a drummer he's known for a while) started writing songs and playing together in Nate's basement. However, before anything really took place, Nate moved. Between meeting people responding to Jason's ads, he had been talking to an old friend, Dwayne Reid (yet another drummer). They ended up talking about the music they liked and what kind of project they wanted to start next. Jason wanted to combine the best elements of bands such as The Cure, Soungarden, and Fugazi and start a band that was appealing to both the progressive-metal crowd and the indie-metal crowd. Dwayne loved Jason's ideas and they began jamming together. Now all they needed was a bass player, so, of course, they placed some more ads, this time searching for a bassist. After plenty of auditions, nobody seemed to work out when Jason found Bruce Brandstatter at a club. The trio began practicing a lot of the music Jason had been writing as Deep's days began to end. Eventually, they decided they were ready to play out. All they needed was a name to call themselves. They had narrowed things down to two choices: Godhead or Blind. Jason and Bruce wanted to use Godhead, but Dwayne insisted on using Blind. Thus the Blind days began... Blind's first show occurred in April of nineteen ninty two at a University and Tiki Fala. For another 6 months, the band would travel to various places in DC. Eventually the band managed to grab themselves some headlining gigs (after months of opening for various bands), and getting their own booking agent and manager. Jason's ideas seemed to be working as it showed in one of their first reviews, in which their sound was labeled as "MetalliCure." Unfortunately, during this time, a few problems with Dwayne began to kick in. It was time for Jason and Bruce to move on. They (Jason and Bruce) both decided that they needed a new drummer that could, at least, agree with their political views and not really worry whether or not they offended someone in the world. After Dwayne was eventually kicked out, they grabbed John Pettit of Sins of Soul. The rest of nineteen ninty two and half of nineteen ninety three, Blind continued playing around DC, every now and then playing along the Eastern Coast. They soon found themselves recording a demo with Brad Divens (of Souls at Zero) and Drew Mazurek (producer). After the demo, the band wanted to move on to a recording contract. They decided that if they were going to get a recording contract, then they would have to go on the road. Jason soon dropped out of college and Bruce quite his job... and off they went in a van! They played coast to coast a few times from Summer of nineteen ninty two up until the beginning of nineteen ninety four. Time passed, no record contract yet, but plenty of endorsement deals. They soon played showcases for a bunch of various major record labels, but still no luck. Next thing they knew, Marlboro Music (who never even saw them play live) ended up sending the band's management company a contract. The label wanted to put together a double album with 4 new US bands, and Blind happen to be one of those bands. The label signed the band merely on listen of their demo. It was to be called America Now. The only catch was that the band needed to change their name (due to a band in Europe already named Blind). Of course they were going to change their name to what Jason and Bruce wanted it in the first place: Godhead. March nineteen ninety four began the birth of our beloved Godhead. By April, they found themselves in a studio with Warren Croyle as their producer and Bernhard Lockar as an assistant. They then filmed a video in the summer, toured America, and then played a few showcase gigs in Germany promoting the compilation. The band soon received the money to begin recording a full length album in March and April of nineteen ninety five. Plans were to have it released in October, so Jason flew to Los Angeles to work on songs with Warren and Bernhard. During that time, Jason went to a Kommunity FK show (after all, their lead had been a great influence to him) to try meeting Patrick (Kommunity FK's lead) to ask him (Patrick) about writing a song with him (Jason). Offer accepted. By March, Godhead eventually flew out to Los Angeles to, first off, rehearse to prepare for the recording. During that time, Patrick Mata and Jason got together and wrote, "No More," which would appear on the album. During March and April Godhead recorded the album in various studios in Los Angeles. The album was plain and simply titled, Godhead. The band then toured the States again, played the nineteen ninety five Foundations Forum, and had plans to tour Europe in February of nineteen ninety six. By then, Marlboro Music decided they wanted Jason as a singer, instead of being more of a guitarist. They intended on adding a friend of theirs (Danny Reibez) as their new guitarist, but things just didn't work out. Then before the European tour began, Mike Miller appeared. Thus started their European tour with band Ugly Mus-tard. March nineteen ninety six. The guys were home and working day jobs. Over the previous four years, their sound changed and Jason was being influenced more and more by the whole gothic and industrial genre. He decided he wanted that involved with the band's sound. However, John and Bruce weren't really into that idea. Eventually, Jason had met a guy (Ullrich Hepperline... Oolie... The Method!) and received a demo that everybody ended up enjoying. By May, Method became the new member of Godhead. By June, the band signed a US deal with Sol Three Records. By July, the band went back into the studios with Drew Mazurek (who produced their first demo in two). This became the birth of their new album, Nothingness (which also included four tracks from Godhead). October marked the release of this new album. A band meeting was held to discuss future plans, touring, etc... but the only people there were the members of the band themselves. As it turns out, John and Bruce had quit. But, of course, that wasn't going to stop them. So Jason, Mike, and Method began to look for a new drummer. Surprise, surprise, this is where James O'Connor entered the picture. The new line-up of Godhead decided to keep the band to four members. The following six months, Godhead started to play shows again while writing plenty of songs for their next album. In February of nineteen ninety seven, the guys went into various studios in New York with Richard Gotterhrer producing. Finally, in August, Godhead finished the production of their next album, Power Tool Stigmata. This album was released in Febrary of nineteen ninety eight. Eight years, nine members later, Godhead still remains, and now with another great album, Two Thousand Years of Human Error!

We have made it to the Twenty First Century. What was billed as the information age has quickly devolved into the age of inundation by meaningless, white noise data. Rising above the din are the Washington, DC based underground cult heroes gODHEAD. Years of hard work caught the attention of modern rock visionary Marilyn Manson, who signed gODHEAD as the first band to his newly formed label, Posthuman Records. The final result is the band's Posthuman debut, Two Thousand Years Of Human Error, set for release on January Twenty Third of Two Thousand and One. Produced by Danny Saber (Black Sabbath, U2, Rolling Stones) and mixed by John X Volaitis (Orgy, Marilyn Manson, Korn), Two Thousand Years Of Human Error captures the visceral aspects of the band's live performance, while highlighting the growth of the band's radical programming talents that give gODHEAD its unique razor-sharp edge. From Jason Miller's aggressive and passionate vocals, to the sonic wizardry of bassist and programmer The Method, anchored by the driving musical force of guitarist Mike Miller and drummer James O'Connor, with Two Thousand Years of Human Error gODHEAD has captured in the studio, the heart and soul of the sound they honed over the past six years without compromising the pure power of their live performances. As Executive Producer, Marilyn Manson oversaw development of the entire album. He played an essential role in taking gODHEAD to the next aesthetic level and aiming them towards the future. "He gave us direction on where he thought things should go," explains Jason Miller. "He worked quite a bit on 'Sinking' and 'Eleanor Rigby.' In a way, we both come from the same place - underground industrial goth rock. But obviously he's somewhere else now…and he's trying to bring us up there!" Marilyn Manson and Reeves Gabrels (longtime guitarist for David Bowie) were two of the notable guests on Two Thousand Years. Manson lent his vocals to "Break You Down," while Gabrels played guitar on and co-produced "Tired Old Man." "'Break You Down' is a 'destroy your enemy' type of song," explains Jason, "but it's also laced with satire, so having Manson was perfect for it. And Reeves has been a friend of the band's for several years. He does amazing things with the guitar and guitar synths, so we had him throw his flare into 'Tired Old Man.' Everybody in the band has been a David Bowie fan as long as we can remember -- especially the newer stuff like 'Outside' and 'Earthling' that Reeves co-produced and had a huge part in. It was great to get some of that cool energy on our album." Godhead, built a strong local following playing clubs in and around Washington, DC, eventually winning support slots on tours with bands like GWAR, Genitorturers and Christian Death, to name a few. The band also released three independent albums: gODHEAD (nineteen ninety four), Nothingness (nineteen ninety six) and Power Tool Stigmata (nineteen ninety eight), which captured the attention of the underground rock press, and along with nonstop touring, helped to spread the band's fan base from the capitol city to the rest of the States and across the Atlantic to Europe and the UK. Building their sound around the passion and musical proficiency of bands such as the Cure and Pink Floyd, gODHEAD uses modern electronics to create music that combines the best of the past and present. "We wanted something that captures our live sound - the raw toughness, but something that also shows our electronic side," says Jason. "I try not to listen to anything current. Instead I go back to the old records that influenced me. It's not like I try to avoid the radio like the plague, but I think if you stay true to why you got into music and not pay too much attention to what's going on around you, you have a much better chance of sounding unique." And on Two Thousand Years Of Human Error, gODHEAD has certainly achieved that goal.