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St. Louis, Missouri, United States

St. Louis, Missouri, United States
Band Rock EDM


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The best kept secret in music


"St. Louis Record Store Day Recap: Apop Records Spotlights Up-and-Comers Shaved Women, Maximum Effort and Glow Dick, Veterans Bob Reuter, Strangulated Beatoffs and Skarekrau Radio"

Up next were the stylings of electronic waif .e (a.k.a. Dottie Georges). Equipped with two electribes, a few pedals, and two guitars, Dottie performed a handful of her punk-beat standards. Chock full of beeps, blips and feedback, this one-woman band didn't disappoint.
- Riverfront Times

"2010 Music Showcase: 1 night, 50+ bands, 5 bucks this Saturday on Wash. Ave."

Home-recording heroine .e (a.k.a. Dottie Georges) continues to create hypnagogic magic in a bandless world. Dreaming down the line of celestial harmony into the ether, this electronic seamstress exhibits her ability to mend the wounds of lost songs. Armed with her amalgamation of patchwork beats, grunge-pop guitar, waiflike murmurs and a Lou Barlow addiction, .e tackles the world head-on with a somber propensity — and a longing to see the heavens above. - Riverfront Times

"A Quick Glimpse of Multi-Instrumentalist .e"

Dottie Georges (aka .e) plays a guitar with a subtlety that can sometimes go unnoticed. It is not in your face and it is sometimes so complex it sounds nice and easy on the ears. But you should not let this fool you because there is a lot going on in her music. She primarily plays shows solo, nothing but her guitar, effects and microphone and in all seriousness that is all she needs. Her ability to weave dulcet melodies in and out of coherent noise produces very compelling tunes that makes you forget you are listening to just one person. And she does write tunes, as in actual songs, that have a solid structure and could stand on their own if stripped down. But if you were to strip them down, you would be missing out on some wonderful artistic sound-scapes that not only enhances the listening experience but also complement the tune. It is safe to say her music is very visual and creative.

When asked about creativity she responds with “I view creativity as completing the task in a different way in order to produce a successful result.” A different way indeed. Interestingly Dottie is also a visual artist and sees the two mediums as a way to counter each other. “My approach to both writing music and creating visual work is pretty similar. Basically, they both start as a purpose with a goal in mind and then working to take it through the steps to where it is fully actualized and presented to an audience. I think that the editing process is crucial. I tend to plan and research quite a bit regardless if there is a specific project in mind at the time. While I do have a preference, both are equally important since one balances the other out. When I am lax on one end, the other suffers.”

Playing live for an audience has a place for her creatively also with regular gigs at venues like the Lemp Neighborhood Arts Center and, most recently, the newly opened Floating Laboratories. She sees performing as a way to directly and immediately present her music while still always keeping an opportunity open for reinterpreting her material and spontaneously editing as so goes. In March she will get a chance to practice this concept in front of what might be her largest audience yet having landed a spot on the NX35 Music Conferette festival in Denton, TX (featuring The Flaming Lips, Midlake, Slobberbone and others).

- Creative Saint Louis

"RFT Music Awards Nominees & Showcase Performers"

Sure, Dottie Georges's solo project is the result of hours of obsessive knob-fiddling and reclusive multitrack experiments. But .e's classification as a noise artist stems from aesthetic alone. She stacks sparkling guitar chords and the occasional thrift-store keyboard atop janky drum-machine beats like an awesome game of Jenga, balancing seemingly endless layers with hushed vocals and sweet melodies. Among all the noise, .e's dreamy bedroom-pop couldn't be further from abrasive. - Riverfront Times

"Art Review: "Pattern Recognition" at City Art Supply"

.e (short for Dottie Georges) has a cool name. She is also a visual artist and a musician. Her work appears at City Art Supply, St. Louis's newest (and only) dedicated art supply store, throughout the month of March. In Pattern Recognition, Ms. Georges presents a sizable collective wall piece, composed of square paper tiles, turned on their corners and coated with concentric rings of black, blue, white, and cadmium red oilbar. The painterliness recalls Jasper Johns, but the effect of these tiles as arranged to create these rough-hewn targets, which glow against oily, pitch-black background is that of a hypnotizing, panoramic deep space. Two roundtop window shapes appear as well, bearing abstract images that resemble irises, which radiate almost tribal, jagged rays or waves. They appear to travel towards, around, and beyond the viewer. This nonobjective installation encompasses the east wall of City Art Supply, with a deep and nearly authoritarian presence, perpendicular to the much more serene installation gracing the three moveable walls. This apparently random assortment of turquoise, hexagonal tiles contains areas of space which elicit a sort of calm, a visual refuge from the more imposing, disorienting east wall arrangement.

The opening reception for Pattern Recognition takes place Saturday, March 7, from 7-9 PM, at the store, located at 3215 Cherokee Street, St. Louis. .e will perform on guitar with sound loops, followed by an electronic musician bearing the moniker "of course you realize..." Check out their links...fascinating stuff.
- Jeremy Rabus

"Glenn Branca's Symphony No. 13 (Hallucination City) and 100 Guitars: An Insider's Look, Part Two"

I also learned that many local and touring noise artists are involved in the group, including This Is My Condition from Lawrence, Brooklyn duo Neg-Fi [ed. note: these two are apparently playing at the City Museum Saturday], a 4 piece whose name I didn't catch from Dallas, local artist Karthik and RFT Best Noise Artist nominee .e.
- Riverfront Times

"Parenthetical Girls, .e | 04.10.07 "

Written by Joseph O'Fallon
Monday, 16 April 2007

On April 10, the rainy Tuesday night, the Parenthetical Girls panic-rocked the Lemp Arts Center. Including the band members themselves, the band members' friends/relatives, Lemp staff workers, my friend, and I, the peak crowd count was sub-30. I'm assuming you missed this one, and by that logic missed the beautiful set by .e (Dottie).

The opening act was St. Louis's own Dottie, who performed only her third solo show since her former band, Chemical X, went on "indefinite hiatus." Dottie's stripped-down punk uses a guitar, a Fender amp with preset drumbeats, and anything but over-the-top vocals. Her minimalist approach set the six-songs-and-out standard. Fans at Lemp shows don't have to put up with the boredom of getting the acoustics just right, and consequently the first song and a half from Dottie slightly suffered. The emphasis on her guitar often drowned out her soft, smooth voice, and at times it was easier to understand lyrics through lip reading than actually hearing the words, even in this intimate show.

Good local bands are exciting, and based on .e's promising MySpace song, with the appropriate working title "One," I had heard her entire intriguing catalogue. "One" was among three of the most impressive songs that really clicked with those in attendance. Her grand finale was a track from her old band, which found a happy medium between her Beatles influence and her punk roots. Dottie is very similar to Kaki King minus the insane finger-picking and simultaneous percussion, especially now that King has added words.

A local band's third show might be deserving of this café-size crowd, but Portland's four-piece, Parenthetical Girls, is worthy of a packed house. The hilarious Parenthetical front-woman, Zac Pennington, sang each song with a less exaggerated voice and a more confident tone than the similar-sounding Clap Your Hands Say Yeah, and padded his act with theatrical, Patrick Wolf-like movements. The band played musical chairs in between songs from their quality debut, Safe as Houses, moving from station to station of their collective repertoire, which included a violin, drums, melodicas, two guitars, accordions, horns, and on-the-spot creations using the Lemp's floors and walls.

My personal favorite, "Love Connection," was the centerpiece of their excellent seven-song set that was also highlighted by "Here's to Forgetting," "The Weight She Fell Under," "One Father, Another," "Forward to Forget," and perhaps the best of all, a new song. Although their spring tour concluded April 15 in Idaho, the band is rarely unpacked in Portland and hopefully will grace St. Louis soon with another "business trip." | Joseph O'Fallon - PLAYBACK:stl

"RFT Music Awards Nominees: St. Louis' Best and Brightest"

In recent years, home recording software has put the ability to make quality recordings in the palm of nearly every musician's hand. Naturally, this has spawned a new generation of bedroom recording savants who base their compositions on careful layering and overdubbing of multiple motifs (and the occasional charming background noise of a television set or roommate shuffling around in the next room). But .e manages to bring her one-woman creations to life in the live setting as well. A tasteful array of looping devices, effects pedals and a dreamy whisper of a voice adds up to the ethereal sway of her noise-pop experiments. - Riverfront Times


currently recording first full length album

Tour CD


Feeling a bit camera shy


.e builds layers of sound with electronic beats, gazing synths, live looping, vocal drifts, and the occasional burst of fuzzed out guitar freak out. One of Saint Louis's most lauded underground solo acts.

performed at NX35 Music Conferette in Denton, Texas, festival in Denton, TX (featuring The Flaming Lips, Midlake, Slobberbone, HEALTH and others)

nominated Best Experimental Artist/Band by Riverfront Times, St. Louis, MO