[stimpee]

here's the text:

RETURN OF THE KINGS OF SNAKE
UNDERWORLD

In the middle of a field at England’s Glastonbury Festival in the summer of 1992, halfway through an epic gig, Underworld members Rick Smith, Karl Hyde and Darren Emerson had a musical revelation.
Perched above the field in a scaffold tower outfitted with an old quadraphonic mixing desk that once belonged to Pink Floyd and surrounded on all sides by four massive Funktion One PA towers and three 70-foot projection screens, the group was performing a 14-hour set. With the help of engineers John Newsham and Tony Andrews—and a rotating cast of guests that included veteran session drummer Trevor Morais and DJ Danny G—Underworld engaged in a non-stop jam that many consider to be one of electronic music’s most compelling live events ever: the Experimental Sound Field.

In addition to fully immersing the crowd in high quality sound and visuals, the performance proved that musicians and DJs could improvise in new, exciting ways that broke previously conceived notions of how artists could present electronic music to an audience.
“We looked at each other after that gig and said, ‘That’s the band for us,’” Hyde remembers. “Somewhere in there is the band for us.”
Smith and Hyde’s identity quest began almost a decade prior to that monumental performance at Glastonbury, when the two were part of Freur, an early Eighties five-member art-rock band that enjoyed one-hit-wonder success with the title track of their first album, Doot Doot. Freur disbanded after releasing their second and last album in 1985, but four-fifths of the group—Hyde, Smith, Bryn Burrows and Alfie Thomas—regrouped in 1988, calling their new project Underworld. This lineup signed to Sire Records and released two albums—1988’s Under The Radar and 1989’s Change The Weather. Their goal was to achieve pop stardom by the decade’s end. Instead they went bankrupt.

“Nobody wanted to give us a deal after Sire dropped us,” says Hyde. “We were a dance group with a singer, but we didn’t have a drummer. To a lot of traditional thinking, that was a bit too odd. We learned in the early days that you have to go off and do it on your own, then come back to the table and demonstrate how it works. So that’s what we did.”

Over the past 26 years, Smith and Hyde have seen their share of crowning achievements, grand mishaps and well-timed reinventions. They even survived and succeeded after Darren Emerson’s surprising departure in April 2000, but their current projects and output suggest that Underworld could very well be entering their finest era yet.

While previously the adventurous Experimental Sound Field mentality inspired new ways of producing and performing music, it has now also influenced Hyde and Smith to explore new, unconventional means for distributing the music they create. Having already established an intimate connection with their fans via Underworld’s official website, dirty.org, they’ve now expanded their reach with underworldlive.com, a new destination for purchasing and downloading fresh audio right off the mixing board. No need to wait for the record company to okay the release. No pressure to launch a massive tour to promote the material. Smith and Hyde have come back to the table in 2006, and they’re ready to demonstrate how it works.

(doesnt look like full text to me)