The Sexbots

Cover Art for Trust Games by The Sexbots Album art back cover for Trust Games by The Sexbots

Trust Games is the seventh release by Portland avant posters The Sexbots. Awash in nostalgia, they cover 5 eighties classics with a delivery that is part BBC, part fetish dungeon. You've never heard these songs quite this way before.

The official Listening Party is at the Kit Kat Club on January 25, 2015.  Listen to the entire EP while watching Portland's premiere showgirls work the pole.

Trust Games was quietly released on Christmas Day- Dec. 25, 2014 and has been wreaking havoc ever since.

Who do ya trust, baby?

Download all five songs or pre-order the limited edition CD- only 50 numbered copies here


The startling and hypnotic Songs for Jamil was recorded while blind drunk in my living room-listen here.  Released September 14, 2014.

I'm going to put out two albums this winter and hit the road again this spring.  See you out there!

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The Sexbots are Ilima Considine- who sets her inimitable vocals against electronic soundscapes from around the world.  During a band breakup, Considine was approached by several beatmakers who wanted a vocalist without the commitment of a band.  The Sexbots brings to life a series of e-mail collaborations, carefully curated and art-directed by Considine- who performs alone.  Surprisingly, the unknown band with no label, no management, and before the first show was even played outside Portland -managed to chart on CMJ with their first album.  Since then, Considine has toured and released a no-budget music video for every song- entire albums can be listened to on youtube, accompanied by images of the bespectacled singer falling out of trees, dancing naked, or being repeatedly killed by her children’s stuffed tigers(the children can often be seen frolicking in the background).  Along with an undefinable and shifting accent, Considine’s appearance is largely ambiguous- often androgynous, ethnically unclear(Irish-Chinese), with big eyes/tiny stature/theatrical gestures making it unclear how old or how serious she is about anything.  She is entirely serious about the emotional inner world she charts- of a woman vacillating between love and sex, between need and regret.  With a stage presence verging on performance art, Considine has received grants from both the Oregon Arts Commission and the Regional Arts and Culture Council.

The title of the third album, Junk Sick, is a term for the vomiting that accompanies heroin withdrawal, which seemed apt for the relationship depicted in 8 out of 11 songs.  Another title considered was “Love Makes Me Nervous”.  Regret, jealousy, and desire are recurring themes.  The music has always incorporated spoken word, weird samples, and the odd song structures of a classically trained violinist turned indie vocalist- but this album is unabashedly art pop with the heavy nostalgia that children of the 80’s have for smashed and deconstructed Nintendo sounds, primitive synths, cassettes, and shitty mics.  The first song of the album, “The Only Thing”,  sound recalls Nightrider, Bladerunner, Mario Bros., and Japanese poptarts all at once.  This album was funded by a Kickstarter campaign whose rewards included "inappropriately long hugs".

 

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I'm a trans-disciplinary artist based in Portland, OR.  I'm the leader of a band called The Sexbots, I direct music videos, I write neoclassical soundtracks, and I can sometimes be found doing performance art and occasional art modeling/acting.  I am available for session work on violin and cello.

Find me on Facebook or my band page Ilima Considine and The Sexbots

Yes, I want to work on your soundtrack!  I'm the mother of 2 kids.  There are babies to feed, but I'm the queen of nanobudget productions, please send me your ideas and proposals.  I am always seeking new collaborators.

I can be directly reached at ilimaconsidine@gmail.com

"an intellectual, quirky genius who is exploring sexuality from the other side of awareness"- Hal Harrison

"I like it when you play violin.  It looks like you're having sex... with yourself." -Marston Hall