Ah, the New Age internet mysteries just keep on multiplying… About four different people in the last week have pointed my attention to this screwball fan video for Paul McCartney’s “Temporary Secretary,” even though I have no reason to believe they have been in contact. Weirder still, a leisurely late-afternoon link-clicking spree led to me to SKYMALL today, a portal of bizarro pop cultural pastiche that Rosequartz describes as an “imaginary free record label,” and that seems to be in some way related to PEACE AGE, an equally cryptic e-destination for cassette releases and animated collage. The sites do not link back to each other, but both list “CH-ROM” and “Luke Perry” under authors, and I am inclined to believe the latter is none other than the very Luke Perry captured in this Vimeo by Pixel Horse. Outside the site’s retro-futurist wall paper, which pictures a verdant tomorrowland fashioned entirely in hexagonal shapes, I was struck by its utopian vision of an “online store” in which everything is free. And I was also struck by this dewey-eyed pentatonic guitar revery by New Yoga (off of the band’s “Lizard Vision” e-release), which feels like it would make the perfect exit music for a bromance about reuniting with lost college buddies…back in the future.
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Archive for the ‘Horizons’ Category
Sightings: New Yoga, “Lizard Vision”
Monday, January 11th, 2010Remembering When Times Were Drastic: Rhys Chatham on the early ’80s
Friday, August 7th, 2009
Walk into any spot in New York City where guitar nerds tend to linger and you’re bound to hear someone talking about it: minimalist composer (and Visitation Rites astrologist) Rhys Chatham is back in New York for round two of last year’s rained-out performance of A Crimson Grail, and somebody you know–or somebody who knows someone you know–is probably rehearsing for it. Boasting the combined decibel power of 200 electric guitars, 15 basses, and a high hat player, Crimson’s North American premiere presents a monumental orchestral slant on Chatham’s signature cross-fertilization of rock and experimental minimalism–dating back to an ear-opening encounter with the visceral punch of NYC punk in the late 1970s, and culminating in what many now identify as the world’s first incarnation of “noise music.”
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