Noise Music

  On 5/31/2016 at 10:28 PM, hello spiral said:

Prurient is awful and a poser yes, was there ever any doubt?

youre hate towards Prurient is getting boring

hate is too strong a word.

I am hoping for some lush eutow vibes in his next release though.

  On 5/31/2016 at 10:46 PM, hello spiral said:

hate is too strong a word.

 

I am hoping for some lush eutow vibes in his next release though.

eutow is from Autechre not Prurient

https://www.discogs.com/de/Autechre-Tri-Repetae/release/24558

more proof that prurient fans are a bit thick, bless'em

couple weeks ago I called Prurient "the avril lavigne of noise music" on a /mu/ thread and a couple guys got really mad... some guy wrote a longass reply explaning why Prurient is the best thing to happen to noise in the last 15 years that sounded pretty convincing, didn't save it though, shame. I'm gonna look for it

  On 5/31/2016 at 11:14 PM, ThatSpanishGuy said:

couple weeks ago I called Prurient "the avril lavigne of noise music" on a /mu/ thread and a couple guys got really mad... some guy wrote a longass reply explaning why Prurient is the best thing to happen to noise in the last 15 years that sounded pretty convincing, didn't save it though, shame. I'm gonna look for it

could be any watmm subform aswell ;)

here it is, emphasis (what's the plural of emphasis?) mine; this is long and fanboyish as fuck and most of it is rather subjective so I highlighted the more objective claims for discussion purposes, not gonna blame you if you dont real the whole thing heh

I don't really give a fuck about Prurient btw, I think I've listened to 3 Prurient tracks in my life tops, but he elicits a strong reaction from both fans and haters which is always entertaining

  Quote

Fernow's own body of work as an artist should speak for itself. The amount of variety on display throughout it in terms of sound, motivation, inspiration and goal is intimidating; he absolutely refuses to get comfortable. As a visual artist, as a sound artist, as a concept artist; as someone bringing all these elements together into multifaceted final works, his vision is as imaginative and layered as it is experienced and skilled on a purely technical level. Most people are yet to realise just how influential and important quite a few Prurient albums are.
Prurient releases work fantastically well as manifestations of both vision and craft, and are utterly idiosyncratic. He operates in a space that's both emotionally resonant, conceptually and theoretically developed, technically accomplished, and impactful on a purely visceral level. Most artists can't juggle all that at once; they just settle for one field and stick with it.

 

Frankly, he has pioneered multimedia, extramusicality - or as he puts it; "content" in music. He doesn't see himself as a musician, but rather an artist using sound as part of a greater collage project. NOTHING is wasted on a Prurient release. Every track title, lyric, image, text, packaging is crucial, and all of those elements work together to create something greater than the sum of it's parts. I’ve never seen anyone pull of concept/content so powerfully in music, let alone emphasise it - vocally in interviews, too, at that - so much.
That, and the vast majority of his releases are so intensely personal in their content that it is mesmerising for me that he actually has the balls to release them. Buy a copy of Rose Pillar to see this for yourself. As for live performances, the energy and sheer enthusiasm is second to none. He is the epitome of an artist that gives everything his all.

 

His label Hospital is probably *the* noise label and he's curated it entirely himself, founding it at age 16 entirely from scratch and successfully making it his goal to be involved with the majority of the most important names in the genre. Pick any big-name US noise artist and you can draw a line connecting them and Fernow in some way - he'll either toured/performed with them, have a split release, a design/production credit somewhere on a release, or at the very least a namedrop.

His curatorial approach with Hospital has done wonders to shatter various preconceptions about how all the tiny niches making up the wider noise sphere should relate to each other, with a total blurring of the lines between what is supposed to be "intelligent and sophisticated art noise" and "lowly vulgar extreme noise”. Fernow’s own Prurient project itself has done the same. Hospital ignored this supposed barrier between the two in favour of just releasing genuinely forward-thinking, strongly individual work which was still the product of intelligent minds, regardless of whether it came from the art school or the underground, and regardless of whether its source of inspiration came from GRM or extreme pornography.

 

Additionally, the now sadly defunct Hospital record store and distro's importance as a wide-ranging point of connection between the wider international noise scene cannot be understated. In that regard, the only other upstart presence in 2000s noise which held as much importance was Carlos Giffoni’s No Fun Fest, compared to longer-running institutions like Ron Lessard’s RRRecords.

  On 5/31/2016 at 10:22 PM, Nebraska said:

i kinda agree with realthanks although cwmbrancity brought up a good point: prurient did always seem more popular with the goth electro crowd (never got into vatican city) particularly his shows where'd he'd get overly emotional. will never forget this one show i went to see him in brooklyn and he had his back to the audience the entire time. everyone was shouting "turn around" and he just kept rubbing his mic to the speaker before storming off stage in a huff.

 

later i saw him outside (shirtless of course) sipping a beer with a bunch of girls trying to calm him down. i felt like going over to give him a hug. antics like that always made him seem a little bit like a poser because he lacked the humor of people like non. that and the fact that some of his lyrics were lifted from poetry books

 

i will say though i really enjoyed releases like cocaine death, 'and still, wanting' and 'shipwrecker's diary'. i know a lot of people love 'the history of aids' but i always found that like an attempt to replicate early richard ramirez or smell & quim releases

it seems the rapid fanbase growth and 'demographic' shift coincided with the release of bermuda drain in 2011. it was much more accessible, hell even danceable, than his other records, and released on metal label hydra head. and also - perhaps moreso - the advent of his vatican shadow, like you said.

around that time he had been part of mopey synthpop/post-punk band cold cave (although i kind of like them), which would have widened his visibility to that sort of crowd, no less informed his music. add in to that equation the all-black berghain types that he attracted with vatican and you have his current fanbase!

i can picture the scene you described perfectly, lol. the early shirtless shows were very much a way of dom dealing with his personal demons, and he channeled a LOT of emotion into those performances. 'storming off in a huff' was inevitable no matter the crowd's reception - check out this show (especially his exit, and ron lessard losing it in the crowd):

also as a heads up, Jean Feraca - the poet you linked - is his mother! they collaborate a lot

  On 5/31/2016 at 10:28 PM, hello spiral said:

Prurient is awful and a poser yes, was there ever any doubt?

i still totally fail to see the multitude of poser accusations. from what i've heard, fernow is incredibly humble, down to earth and funny in person, despite the impression prurient gives on all levels. the project is extremely personal and very serious in its content, and i can see how this can be overbearing - especially given the dark, violent and seedy subtext.

to me, with this in mind, it is impossible to be a 'poser' thing because it is not at all about posturing! i don't see how you can expect someone to think you're cool and super edgy when you're screaming your lungs out about how your uncle just died, and all the existential terror that comes with that (rose pillar), or how you're terrified of love (fossil). it's certainly very unapologetic, in your face and grating at times, but the work is coming from a very genuine place, and i find something special and poignant in that. to assume it is pretentious and simply about posturing is entirely missing the point of what he does

i remember reading in an interview that he said the purpose of the project was to make people uncomfortable, and to translate his own feelings of anxiety, dread etc into something tangible. by being so direct in the way he does, he succeeds at that for sure

  On 5/31/2016 at 11:47 PM, ThatSpanishGuy said:

 

here it is, emphasis (what's the plural of emphasis?) mine; this is long and fanboyish as fuck and most of it is rather subjective so I highlighted the more objective claims for discussion purposes, not gonna blame you if you dont real the whole thing heh

 

I don't really give a fuck about Prurient btw, I think I've listened to 3 Prurient tracks in my life tops, but he elicits a strong reaction from both fans and haters which is always entertaining

 

 

  Quote

Fernow's own body of work as an artist should speak for itself. The amount of variety on display throughout it in terms of sound, motivation, inspiration and goal is intimidating; he absolutely refuses to get comfortable. As a visual artist, as a sound artist, as a concept artist; as someone bringing all these elements together into multifaceted final works, his vision is as imaginative and layered as it is experienced and skilled on a purely technical level. Most people are yet to realise just how influential and important quite a few Prurient albums are.

Prurient releases work fantastically well as manifestations of both vision and craft, and are utterly idiosyncratic. He operates in a space that's both emotionally resonant, conceptually and theoretically developed, technically accomplished, and impactful on a purely visceral level. Most artists can't juggle all that at once; they just settle for one field and stick with it.

 

Frankly, he has pioneered multimedia, extramusicality - or as he puts it; "content" in music. He doesn't see himself as a musician, but rather an artist using sound as part of a greater collage project. NOTHING is wasted on a Prurient release. Every track title, lyric, image, text, packaging is crucial, and all of those elements work together to create something greater than the sum of it's parts. I’ve never seen anyone pull of concept/content so powerfully in music, let alone emphasise it - vocally in interviews, too, at that - so much.

That, and the vast majority of his releases are so intensely personal in their content that it is mesmerising for me that he actually has the balls to release them. Buy a copy of Rose Pillar to see this for yourself. As for live performances, the energy and sheer enthusiasm is second to none. He is the epitome of an artist that gives everything his all.

 

His label Hospital is probably *the* noise label and he's curated it entirely himself, founding it at age 16 entirely from scratch and successfully making it his goal to be involved with the majority of the most important names in the genre. Pick any big-name US noise artist and you can draw a line connecting them and Fernow in some way - he'll either toured/performed with them, have a split release, a design/production credit somewhere on a release, or at the very least a namedrop.

 

His curatorial approach with Hospital has done wonders to shatter various preconceptions about how all the tiny niches making up the wider noise sphere should relate to each other, with a total blurring of the lines between what is supposed to be "intelligent and sophisticated art noise" and "lowly vulgar extreme noise”. Fernow’s own Prurient project itself has done the same. Hospital ignored this supposed barrier between the two in favour of just releasing genuinely forward-thinking, strongly individual work which was still the product of intelligent minds, regardless of whether it came from the art school or the underground, and regardless of whether its source of inspiration came from GRM or extreme pornography.

 

Additionally, the now sadly defunct Hospital record store and distro's importance as a wide-ranging point of connection between the wider international noise scene cannot be understated. In that regard, the only other upstart presence in 2000s noise which held as much importance was Carlos Giffoni’s No Fun Fest, compared to longer-running institutions like Ron Lessard’s RRRecords.

 

wow! despite the blatant fanboyism and lavishing praise, this absolutely nails it. particularly the part about multimedia and collage - to me that is the vast majority of the appeal of dom's work. it totally changed how i looked at music

(i hope my own fanboyism isn't too obvious in my posts)

not really sure what multimedia and collage "content" is being talked about, but i have to admit i was somewhat intrigued by dom's force publique congo project. too bad it seems to be now dormant.

next up: anyone checking out dario fariello?

https://soundcloud.com/iosuvakerizzoarchive/dario-fariello-iosu-vakerizzo-the-snake-charmers-last-song

  On 6/2/2016 at 11:20 PM, realthanks said:

 

to me, with this in mind, it is impossible to be a 'poser' thing because it is not at all about posturing! i don't see how you can expect someone to think you're cool and super edgy when you're screaming your lungs out about how your uncle just died, and all the existential terror that comes with that (rose pillar), or how you're terrified of love (fossil).

 

Gag me with a fucking spoon

  On 6/2/2016 at 11:48 PM, Nebraska said:

not really sure what multimedia and collage "content" is being talked about, but i have to admit i was somewhat intrigued by dom's force publique congo project. too bad it seems to be now dormant.

 

next up: anyone checking out dario fariello?

 

https://soundcloud.com/iosuvakerizzoarchive/dario-fariello-iosu-vakerizzo-the-snake-charmers-last-song

he sees his work as a collage project in the sense that every type of media involved is of equal importance, and made with equal effort and deliberation. i.e the album artwork, other visual imagery - either in additional inserts or the way a release is packaged, text (lyrics, track titles, quotes and essays included in a release), indeed live performance as well, and of course, the actual music in the audio sense. all of these elements are working together to reinforce each other and give context to one another, and can change how you interpret one aspect compared to another. all of it comes together as a final piece in the same way a collage does.

i hope that makes sense, because i'm doubting myself while writing it

re force publique congo, i've not actually heard any of that material! it looks stellar though. could you recommend a release?

been spending a lot of time with rainforest spiritual enslavement recently. that project pushes all of my buttons. taking place in the foyer is outstanding

  On 6/3/2016 at 12:21 AM, hello spiral said:

 

  On 6/2/2016 at 11:20 PM, realthanks said:

 

to me, with this in mind, it is impossible to be a 'poser' thing because it is not at all about posturing! i don't see how you can expect someone to think you're cool and super edgy when you're screaming your lungs out about how your uncle just died, and all the existential terror that comes with that (rose pillar), or how you're terrified of love (fossil).

 

 

Gag me with a fucking spoon

 

that sounds painful and unnecessary for both of us

i realise how cringe-y that possibly all seems, but i hope you understand what i'm getting at. you can't intimidate someone when they've read your diary, right?

  On 6/3/2016 at 1:26 AM, realthanks said:

 

  On 6/2/2016 at 11:48 PM, Nebraska said:

not really sure what multimedia and collage "content" is being talked about, but i have to admit i was somewhat intrigued by dom's force publique congo project. too bad it seems to be now dormant.

 

next up: anyone checking out dario fariello?

 

https://soundcloud.com/iosuvakerizzoarchive/dario-fariello-iosu-vakerizzo-the-snake-charmers-last-song

 

he sees his work as a collage project in the sense that every type of media involved is of equal importance, and made with equal effort and deliberation. i.e the album artwork, other visual imagery - either in additional inserts or the way a release is packaged, text (lyrics, track titles, quotes and essays included in a release), indeed live performance as well, and of course, the actual music in the audio sense. all of these elements are working together to reinforce each other and give context to one another, and can change how you interpret one aspect compared to another. all of it comes together as a final piece in the same way a collage does.

i hope that makes sense, because i'm doubting myself while writing it

 

 

Your instinctive doubts were correct.

Intention doesnt carry much weight if the resulting sonic repertoire is so poor. If the sounds are bunk, no amount of gimmicks are going to enhance it.

Interpreting some form of multifarious "collage" just goes to show that the both the artist and yourself over-reach by implying this to be further evidence of something meaningful.

Shirt off emo bollix. Suit on emo bollix. Same thing ultimately: shit art.

  On 6/3/2016 at 1:26 AM, realthanks said:

re force publique congo, i've not actually heard any of that material! it looks stellar though. could you recommend a release?

there's only technically 2 releases because the project started off by releasing a single on cassette each week or so (at the end of the year, a compilation cassette made up of all these singles was released as 'civil war follows colonization' (oddly enough, this compilation missed 'copper, rubber and witchcraft in zandeland' which was my intro to the project)

the next was the only full length release (also on cassette): 'population loss in the rubber-rich equatorial colonies'

personally i enjoyed the latter a little more as a full release but there are a few songs in the first tapes (civil war follows colonization comp.) that are pretty stellar. you can find samples here

  On 6/3/2016 at 3:46 AM, cwmbrancity said:

 

  On 6/3/2016 at 1:26 AM, realthanks said:

 

  On 6/2/2016 at 11:48 PM, Nebraska said:

not really sure what multimedia and collage "content" is being talked about, but i have to admit i was somewhat intrigued by dom's force publique congo project. too bad it seems to be now dormant.

 

next up: anyone checking out dario fariello?

 

https://soundcloud.com/iosuvakerizzoarchive/dario-fariello-iosu-vakerizzo-the-snake-charmers-last-song

 

he sees his work as a collage project in the sense that every type of media involved is of equal importance, and made with equal effort and deliberation. i.e the album artwork, other visual imagery - either in additional inserts or the way a release is packaged, text (lyrics, track titles, quotes and essays included in a release), indeed live performance as well, and of course, the actual music in the audio sense. all of these elements are working together to reinforce each other and give context to one another, and can change how you interpret one aspect compared to another. all of it comes together as a final piece in the same way a collage does.

i hope that makes sense, because i'm doubting myself while writing it

 

 

 

 

Your instinctive doubts were correct.

 

Intention doesnt carry much weight if the resulting sonic repertoire is so poor. If the sounds are bunk, no amount of gimmicks are going to enhance it.

 

Interpreting some form of multifarious "collage" just goes to show that the both the artist and yourself over-reach by implying this to be further evidence of something meaningful.

 

Shirt off emo bollix. Suit on emo bollix. Same thing ultimately: shit art.

 

Indeed.

That 4chan bieleber's post reads like:

Prurient fans are all angsty teenagers that just got into noise last summer.

Dominick is a nice boy though.

PS.

[youtubehd]1VUAWBaYKtg[/youtubehd]

  On 6/3/2016 at 3:46 AM, cwmbrancity said:

 

  On 6/3/2016 at 1:26 AM, realthanks said:

 

  On 6/2/2016 at 11:48 PM, Nebraska said:

not really sure what multimedia and collage "content" is being talked about, but i have to admit i was somewhat intrigued by dom's force publique congo project. too bad it seems to be now dormant.

 

next up: anyone checking out dario fariello?

 

https://soundcloud.com/iosuvakerizzoarchive/dario-fariello-iosu-vakerizzo-the-snake-charmers-last-song

 

he sees his work as a collage project in the sense that every type of media involved is of equal importance, and made with equal effort and deliberation. i.e the album artwork, other visual imagery - either in additional inserts or the way a release is packaged, text (lyrics, track titles, quotes and essays included in a release), indeed live performance as well, and of course, the actual music in the audio sense. all of these elements are working together to reinforce each other and give context to one another, and can change how you interpret one aspect compared to another. all of it comes together as a final piece in the same way a collage does.

i hope that makes sense, because i'm doubting myself while writing it

 

 

 

 

Your instinctive doubts were correct.

 

Intention doesnt carry much weight if the resulting sonic repertoire is so poor. If the sounds are bunk, no amount of gimmicks are going to enhance it.

 

Interpreting some form of multifarious "collage" just goes to show that the both the artist and yourself over-reach by implying this to be further evidence of something meaningful.

 

Shirt off emo bollix. Suit on emo bollix. Same thing ultimately: shit art.

 

again, i have to ask; what have you heard of his? i can only imagine someone holding this opinion if they put on cocaine death and and still wanting once, which IMO are some of his weakest albums.

it's a bit of a shame that his most well-known records are only so largely because of their notoriety - being covered by rolling stone et al, and rarely beyond "great music to scare your roommate," followed by pitchfork catching on with "wow intense." i like these records just fine, but they pale in comparison to his back catalogue.

even so, your reply boiled down to "i don't like the sounds so it sucks," which is just acting stubborn and shitty. labelling everything else as a gimmick tells me you just haven't tried to sit down and spend time with his material. gimmickry is null when most releases you buy of his will come with a literal further reading list - it's well researched, not just extra tackle to try and make up for something lacking.

admittedly, i don't get as much as i used to out of his, uh, emo bollix material (back when i fit the category that Dan C described above), and obviously neither do you, so check out:

all are guests in the house of the lord (collaboration with kevin drumm)

self titled LP

mermaid skeleton

ghosts of niagara (collaboration with c. spencer yeh / burning star core)

tiger smells a corpse

fossil and black vase (full band lineup live recordings, with kris lapke / alberich and ben barnett from dropdead IIRC)

annihilationist and unmasking the insect are also top notch if you're into minimal and restrained noise

  On 6/3/2016 at 5:55 AM, Nebraska said:

 

  On 6/3/2016 at 1:26 AM, realthanks said:

re force publique congo, i've not actually heard any of that material! it looks stellar though. could you recommend a release?

 

there's only technically 2 releases because the project started off by releasing a single on cassette each week or so (at the end of the year, a compilation cassette made up of all these singles was released as 'civil war follows colonization' (oddly enough, this compilation missed 'copper, rubber and witchcraft in zandeland' which was my intro to the project)

 

the next was the only full length release (also on cassette): 'population loss in the rubber-rich equatorial colonies'

 

personally i enjoyed the latter a little more as a full release but there are a few songs in the first tapes (civil war follows colonization comp.) that are pretty stellar. you can find samples here

 

spot on, thanks. i'll check out the samples later today. sadly it seems the digital releases of these tapes were taken down from boomkat and other distros, amongst the rest of the digital hospital catalogue cull

  On 6/3/2016 at 12:34 PM, realthanks said:

 

  On 6/3/2016 at 3:46 AM, cwmbrancity said:

 

  On 6/3/2016 at 1:26 AM, realthanks said:

 

  On 6/2/2016 at 11:48 PM, Nebraska said:

not really sure what multimedia and collage "content" is being talked about, but i have to admit i was somewhat intrigued by dom's force publique congo project. too bad it seems to be now dormant.

 

next up: anyone checking out dario fariello?

 

https://soundcloud.com/iosuvakerizzoarchive/dario-fariello-iosu-vakerizzo-the-snake-charmers-last-song

 

he sees his work as a collage project in the sense that every type of media involved is of equal importance, and made with equal effort and deliberation. i.e the album artwork, other visual imagery - either in additional inserts or the way a release is packaged, text (lyrics, track titles, quotes and essays included in a release), indeed live performance as well, and of course, the actual music in the audio sense. all of these elements are working together to reinforce each other and give context to one another, and can change how you interpret one aspect compared to another. all of it comes together as a final piece in the same way a collage does.

i hope that makes sense, because i'm doubting myself while writing it

 

 

 

 

Your instinctive doubts were correct.

 

Intention doesnt carry much weight if the resulting sonic repertoire is so poor. If the sounds are bunk, no amount of gimmicks are going to enhance it.

 

Interpreting some form of multifarious "collage" just goes to show that the both the artist and yourself over-reach by implying this to be further evidence of something meaningful.

 

Shirt off emo bollix. Suit on emo bollix. Same thing ultimately: shit art.

 

again, i have to ask; what have you heard of his? i can only imagine someone holding this opinion if they put on cocaine death and and still wanting once, which IMO are some of his weakest albums.

it's a bit of a shame that his most well-known records are only so largely because of their notoriety - being covered by rolling stone et al, and rarely beyond "great music to scare your roommate," followed by pitchfork catching on with "wow intense." i like these records just fine, but they pale in comparison to his back catalogue.

 

even so, your reply boiled down to "i don't like the sounds so it sucks," which is just acting stubborn and shitty. labelling everything else as a gimmick tells me you just haven't tried to sit down and spend time with his material. gimmickry is null when most releases you buy of his will come with a literal further reading list - it's well researched, not just extra tackle to try and make up for something lacking.

 

admittedly, i don't get as much as i used to out of his, uh, emo bollix material (back when i fit the category that Dan C described above), and obviously neither do you, so check out:

 

all are guests in the house of the lord (collaboration with kevin drumm)

self titled LP

mermaid skeleton

ghosts of niagara (collaboration with c. spencer yeh / burning star core)

tiger smells a corpse

fossil and black vase (full band lineup live recordings, with kris lapke / alberich and ben barnett from dropdead IIRC)

 

annihilationist and unmasking the insect are also top notch if you're into minimal and restrained noise

 

enough to make me realize it was mostly profoundly awful, but thats just liiiiiike my opinion maaaaaaaaaaaaaaaan

and if you compare to Whitehouse, as a yardstick, well, there is no comparison. 1 is zen that i can get off on, the other is zzzzzzzzz

plain enough?

and dont take allusion as the core method there, take those bunk sounds as debasing any intention with shit aesthetics to create waveforms that have no place in my particular universe

if you enjoy it, then i can only express pity ;)

  On 6/3/2016 at 1:26 AM, realthanks said:

 

  On 6/2/2016 at 11:48 PM, Nebraska said:

not really sure what multimedia and collage "content" is being talked about, but i have to admit i was somewhat intrigued by dom's force publique congo project. too bad it seems to be now dormant.

 

next up: anyone checking out dario fariello?

 

https://soundcloud.com/iosuvakerizzoarchive/dario-fariello-iosu-vakerizzo-the-snake-charmers-last-song

 

he sees his work as a collage project in the sense that every type of media involved is of equal importance, and made with equal effort and deliberation. i.e the album artwork, other visual imagery - either in additional inserts or the way a release is packaged, text (lyrics, track titles, quotes and essays included in a release), indeed live performance as well, and of course, the actual music in the audio sense. all of these elements are working together to reinforce each other and give context to one another, and can change how you interpret one aspect compared to another. all of it comes together as a final piece in the same way a collage does.

i hope that makes sense, because i'm doubting myself while writing it

how is this different than any other serious artist?

i've only heard a few releases of his (primarily Bermuda Drain and Frozen Niagra Falls), kinda put off by the production/mastering... is all of his music produced like that (near-clipping/distorted) ?? it really detracts from the power of the music, imo

https://jodaclement.wordpress.com/

Joda Clement has put out a couple of real nice releases in the last year... "I hope you like the universe" and then there's "Sea Songs"

https://noticerecordings.bandcamp.com/album/i-hope-you-like-the-universe

probably my most played album last year

  On 6/4/2016 at 10:18 PM, barbara planar said:

 

  On 6/3/2016 at 1:26 AM, realthanks said:

 

  On 6/2/2016 at 11:48 PM, Nebraska said:

not really sure what multimedia and collage "content" is being talked about, but i have to admit i was somewhat intrigued by dom's force publique congo project. too bad it seems to be now dormant.

 

next up: anyone checking out dario fariello?

 

https://soundcloud.com/iosuvakerizzoarchive/dario-fariello-iosu-vakerizzo-the-snake-charmers-last-song

 

he sees his work as a collage project in the sense that every type of media involved is of equal importance, and made with equal effort and deliberation. i.e the album artwork, other visual imagery - either in additional inserts or the way a release is packaged, text (lyrics, track titles, quotes and essays included in a release), indeed live performance as well, and of course, the actual music in the audio sense. all of these elements are working together to reinforce each other and give context to one another, and can change how you interpret one aspect compared to another. all of it comes together as a final piece in the same way a collage does.

i hope that makes sense, because i'm doubting myself while writing it

 

how is this different than any other serious artist?

 

Thank you

https://youtu.be/44dym87wlkE

I liked Bermuda Drain, leave Dominick alone ;_;

https://www.youtube.com/watch?v=y4Ob-2RXe9I