For the past 30 years Chris Mehalso has recorded as Dummy Plug Conspiracy. At an early age he developed an intense aversion to loud or unusual sounds - especially the electronically altered human voice upset him terribly. Early experiences with musique concrete, first wave synth recordings, and heavy machinery, taught him the power of sound to disorient, haunt, and oppress. He chose to face and overcome his fear of sound through a purposeful, lifelong journey into immersive exposure via audio experimentation. Though this path started with a classical music education, after a prolonged period of learning and, ultimately, unlearning the process of creating music, Chris emerged as Dummy Plug Conspiracy and proceeded to fuse all the elements of his most loved and feared sounds into a diverse portfolio of primarily electronic extreme music experimentation.

The first Dummy Plug Conspiracy recording was committed to 1/4 open reel magnetic tape in 1992 using a combination of found processed sound and analog modular synthesizers. Sporadic involvement with other musicians would follow, but it was soon clear that collaboration wasn't going to be part of the Dummy Plug Conspiracy experience. By the late 90's Chris was a permanent solo recording entity accepting no input from or compromise with anyone. The material is usually based in the hardcore/gabber/noise/extreme genres, but also dips into intelligent electronic, ambient, and cinematic sound design.

Dummy Plug Conspiracy music has appeared on dozens of releases worldwide ranging from compilations, to video soundtracks, to full length recordings from CFOM Records, Digital Hardcore Recordings, Industrial Strength Records, and self-released projects from electronic projects lab. In addition to ongoing music releases, Dummy Plug Conspiracy has executed two live stream productions and most recently released a noise experiment record under the moniker Parasitic Twin Disposal Unit.

Dummy Plug Conspiracy is pleased to be among the hand-picked American Electronic Records roster. Every recording could be his last. Though his artistic goals are difficult to assess, his theater of deconstruction has left 30 years of musical artifacts to illustrate the struggle of sound vs. listener. A delicate battle fought with moving waves in air.