jueves, 29 de enero de 2009

Hashisheen The End of Law

Bill Laswell (born February 12, 1955 in Salem, Illinois and raised in Albion, Michigan) is an American bassist, producer and record label owner. Laswell's music draws upon many different genres, most notably funk, various world music, jazz, dub and ambient styles. He has also played or produced music from the noisier, more aggressive end of the rock spectrum, like hardcore punk and metal.Laswell’s pet concept is 'collision music' which involves bringing together musicians from wildly divergent but complementary spheres and seeing what comes out.The credo of one record label run by Laswell, and which typifies much of his work, is “Nothing Is True, Everything Is Permitted”. Though projects arranged by Laswell may be credited under the same name and often feature the same roster of musicians, the styles and themes explored on different albums can vary dramatically: Material began as a noisy dance music project, but subsequent releases have been centered around hip hop, jazz, or backing spoken word readings by beat generation icon William S. Burroughs.

‘Hashisheen – The End of Law’ is Bill Laswell’s epic 2-year project to lay down a soundtrack to the ancient and mystic story of Hasan Bin Sabbah, Alamut the "Garden of Earthly Delights" and the rites of the Hashisheens (also called the "Assassins"). Gathering together collaborations from the likes of William S. Burroughs, Techno Animal, Jah Wobble, Paul Schutze, Genesis P. Orridge, Iggy Pop, Helios Creed and many more he pieces together some kind of proto-trip hop doom ambient nightmare.

Hashisheen The End of Law


martes, 27 de enero de 2009

71 minutes of Faust

Faust is a German krautrock band, originally composed of Werner "Zappi" Diermaier, Hans Joachim Irmler, Arnulf Meifert, Jean-Hervé Péron, Rudolf Sosna and Gunter Wüsthoff, working with producer Uwe Nettelbeck and engineer Kurt Graupner.The group formed in 1971 in the rural setting of Wümme. They secured a lucrative record deal with Polydor and soon began recording their debut, Faust, which sold poorly but received critical acclaim for its innovative approach and established a devoted fanbase. Faust became one of the premier bands in the international appreciation of the genre that would eventually be known as krautrock.

71 Minutes of Faust


sábado, 24 de enero de 2009

D.I. Go Pop by Disco Inferno

Disco Inferno was a band formed in Essex in the late 1980s by Ian Crause (guitar & vocals), Paul Wilmott (bass), Rob Whatley (drums) and Daniel Gish (keyboards). The melody on the album's 8 tracks is often carried by the bassline, while an imaginative array of samples (including running water, breaking glass, car crashes, fax machines) builds dense aural collages. Unlike many of the post rock bands Disco Inferno were labelled alongside, the music on D.I. Go Pop was harsh and concise, with Crause's vocals (often buried in the mix) concerning frustration rather than bliss.


jueves, 22 de enero de 2009

The Worst of Monte Cazazza

Monte Cazazza is an American artist and composer best known for his seminal role in helping shape the early landscape of industrial music through recordings with the London-based Industrial Records in the mid-1970s.
Cazazza, based primarily in San Francisco during his early career, is credited with coining the phrase "Industrial Music for Industrial People". This was later used to encapsulate the record label and the artists representing it. Later, the noise collages and experimental sound manipulation coming out of Industrial records came to be known as industrial music.Much of his early work is considered obscene and virtually impossible to find. He worked with both print and sound collage, film, performance, and presentation.


sábado, 17 de enero de 2009

The Creative Act by Marcel Duchamp

  • "Art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way as a bad emotion is still an emotion".
  • "I was interested in ideas, not in visual products. I wanted to put painting again in the service of the mind".
  • "The creative act is not formed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act".
  • "In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions".
  • "I don't believe in art. I believe in artists".
  • "I consider painting as a means of expression, not as a goal".
  • "It's true, of course, humor is very important in my life, as you know. That's the only reason for living, in fact".

The Creative Act by Marcel Duchamp


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