4/29/12
miserable psychedelia
Mick Jagger: "That was the time of lots of acid. It has sitars on it. It's like the beginnings of miserable psychedelia."
4/26/12
$15
Created in the form of a futuristic encyclopedia, On Acid: A Field Guide to Altered States explores psychedelia in art and literature, drawing a line connecting archival works by William James, Antonin Artaud, Timothy Leary, and various modernist explorers, to the practice of contemporary artists such as Rodney Graham, Francis Alÿs, Jonah Freeman and Justin Lowe. The book concludes with a series of interviews with Freeman and Lowe, Hamilton Morris and Arik Roper. (read more)
4/24/12
monoatomic gold powder
"It gave me intense crown and heart chakra sensations. If you take enough of it, it sometimes feels like you could float right out of the top of your skull! I did notice that I needed to consume larger amounts than was suggested, but that will vary greatly from person to person and I just might be a glutton for this delightfully, gritty gold dust." (review)
Glenn O'Brien: Where did the concept of the group come from?
Florian Schneider: We started with amplified instruments and then we found that the traditional instruments were too limited for our imaginations.
Ralf Hutter: We couldn’t really say what we wanted with keyboards – so from there we amplified feedback. Then in the early ’70s we dreamed of this electronic orchestra.
Do you play with tapes and programmed segments?
RH: We have pre-programmed tapes, some cassettes from time, we also have automatic music machines where we can reprogram during the set different codes and sequences, melodies and rhythms.
Were you pop fans in the conservatory?
FS: Yes, we listed to every music. We liked the Doors. But also exotic music, ethnic music.
You don’t have moral ideas. Do you have political ideas?
RH: We strongly believe in anarchy and self rule.
What do you think of the German Anarchists, the Baader-Meinhof group?
RH: It’s not anarchist. When I say “anarchy,” I mean no outside rule. I don’t rule you, you don’t rule me. I rule myself. These people are not using the term anarchy correctly. They are pressing, putting pressure.
Do you think the Sex Pistols are using the term correctly?
FS: I’m not familiar with them. I’ve only heard the title, ‘Anarchy in the U.K.’
Glen O'Brien/Kraftwerk 77
4/23/12
acid architecture
The Magic Mushroom House in Aspen, Colorado. "It was built under the influence of magic mushrooms and occasionally LSD." Built by Andre Ulyrich from 1973-1979, it was his first house. "Everything is in circular motion, there's never a corner, and there's always two or three ways out of every space."
4/16/12
4/11/12
4/5/12
Flaming Lips + Ke$ha + LSD = Doomsday
Pitchfork: How did the song turn out?
Wayne Coyne: It's exactly what people would think a Ke$ha/Flaming Lips track would sound like. It's obnoxious and funny. That's why we like it so much-- she wasn't precious about the whole thing. She was really into this idea of doing a song about the year 2012 and doomsday and what's going to happen. She sent me the most primitive fucking shitty 40-second demo, and we took that and ran with it. Her section of the song is very optimistic-- she's singing about the end of the world, but she's also on ten hits of acid, so she's having a good time-- and my section is completely fucked up.
Pitchfork: Did she actually take acid while recording?
Wayne Coyne: Well, when I got to her house, she said, "I've never taken acid, so I can't sing about that stuff." She's done lots of other drugs, but not acid. So she was like, "Why don't we do some acid, and then I can sing about it." She told her assistant, "Go get us some acid." Her assistant would've just ran out and got everybody a bunch of acid-- how great is that? But we didn't, because I was like, "Listen lady, I'm not going to do a bunch of acid with you tonight, because we have to record." Plus, I didn't really want her to. The way she is, it's as though she's on acid already. I thought, "Fuck, how crazy is that going to be [if she takes acid]?"
Wayne Coyne: It's exactly what people would think a Ke$ha/Flaming Lips track would sound like. It's obnoxious and funny. That's why we like it so much-- she wasn't precious about the whole thing. She was really into this idea of doing a song about the year 2012 and doomsday and what's going to happen. She sent me the most primitive fucking shitty 40-second demo, and we took that and ran with it. Her section of the song is very optimistic-- she's singing about the end of the world, but she's also on ten hits of acid, so she's having a good time-- and my section is completely fucked up.
Pitchfork: Did she actually take acid while recording?
Wayne Coyne: Well, when I got to her house, she said, "I've never taken acid, so I can't sing about that stuff." She's done lots of other drugs, but not acid. So she was like, "Why don't we do some acid, and then I can sing about it." She told her assistant, "Go get us some acid." Her assistant would've just ran out and got everybody a bunch of acid-- how great is that? But we didn't, because I was like, "Listen lady, I'm not going to do a bunch of acid with you tonight, because we have to record." Plus, I didn't really want her to. The way she is, it's as though she's on acid already. I thought, "Fuck, how crazy is that going to be [if she takes acid]?"
Subscribe to:
Posts (Atom)
