This is the 1000th post of Acid Age
Showing posts with label Acid. Show all posts
Showing posts with label Acid. Show all posts
2/15/13
8/27/12
crossfadr: Why did you call your first recording “Acid Trax?”
DJ Pierre: Because the people had named it that. Rumors were all around Chicago about this new track that Ron Hardy was playing was called “Acid Trax.” They said the track made you respond as if you were on acid…so the saying goes. So we didn’t re-invent the wheel, we just kept the name.
6/21/12
Acid Test
It's completely gone before, but every few years, pushing the modulated chirping of the Roland 303 again reinforced in our brain convolutions. A classic story of the house, always good for a few surprises. Acid Test is the sublabel of Absurd Recordings, Los Angeles, which stands for some good time with selected publications and even sprayed covers. It is a modern, not necessarily retro-facing use of the 303-bubbling sound.
There are no rules, the bass line should be but not necessarily how to use the ax in the forest, say, e-guitar solos even as Genre classics from the '90s One looks in vain. For this wonderfully diverse authors Acid (which goes off anyway) as Tin Man, the end of June will release his album Neo Neo Acid. By Eddie Richards tonight also plays one of the first acid-UK DJs and make Idjut Boys anyway, what they like: namely Psychedelic House.
6/13/12
Acid Stonehenge
Keith Richards, Anita Pallenberg, Mick Jagger, Marianne Faithful, and Gram Parsons at Stonehenge, on acid. Photographs by Michael Cooper 1968.
"We started off very early from some club in South Kensington; set off about two or three in the morning in Ketih's Bentley. And we walked across a sort of track to Stonehenge in order to approach it in a properly reverent manner, and watched the dawn come up there. And we were all gibbering with acid." --from Keith Richards, Life
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
$15
Created in the form of a futuristic encyclopedia, On Acid: A Field Guide to Altered States explores psychedelia in art and literature, drawing a line connecting archival works by William James, Antonin Artaud, Timothy Leary, and various modernist explorers, to the practice of contemporary artists such as Rodney Graham, Francis Alÿs, Jonah Freeman and Justin Lowe. The book concludes with a series of interviews with Freeman and Lowe, Hamilton Morris and Arik Roper. (read more)
4/5/12
Flaming Lips + Ke$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]?"
11/28/11
Anthology of American Acid House
Continuing the creative curatorial spirit of Harry Smith’s 1952 Anthology of American Folk Music, this anthology presents the legacy of American acid house in three themed mixes curated and performed by CCC DJ Harry Bennett. Each mix contributes to the recognition of this musical subgenre, originating in late 1980s Chicago, as itself a rich strain of folk music.
“Acid Ballads” covers vocal acid tracks, which variously depict the trials of romantic love, feelings of erotic desire, communal ecstasy, and the phantasmorgia of urban nightlife. “Werk Songs” features the subgenre’s heaviest dance numbers, whose propulsive rhythms embody the jackhammer-style of “jackin” house. In “Slow Motion Acid,” signature acid tunes are spun in a chopped & screwed style which re-imagines classic Chicago house in the vein of the pitched-down rap music pioneered by DJ Screw in the 1990s.
The historical approach of the AAAH reflects the ambiguous etymology of the word “acid” in “acid house.” While the term initially referred to psychedelic sounds and the mind-altering substances traditionally consumed in nightclub environments, “acid” began to additionally invoke an “acid burn,” the act of stealing or sampling recordings endemic to dance music production. The anthology’s own acidic character can be found in its relation to history, which the anthology subjectively samples and re-presents in a psychedelic mix.
Anthology of American Acid House Vol. 1: Acid Ballads
Victor Romeo ft. Leatrice Brown “Love Will Find A Way (Club)” (Dance Mania – 1988)
The It “Donnie (Club Mix)” (D.J. International – 1986)
Jeanette Thomas “Shake Your Body (House Shaker)” (Chicago Connection – 1987)
Blake Baxter “When We Used To Play” (KMS – 1987)
Fast Eddie “Acid Thunder (Tyree’s SuperCooper Mix)” (D.J. International – 1988)
John Rocca “Move” (Criminal Records – 1985)
Blake Baxter “Get Layed” (KMS – 1987)
Tyree feat. Chic “I Fear The Night (Subterraranian Mix)” (Underground – 1986)
Adonis “We’re Rocking Down the House (Down Break)” (Trax Records – 1986)
The Party Boy “Twilight Zone (Bam Bam’s Corrosion Mix)” (Urban Acid – 1988)
Bam Bam “Spend The Night” (Westbrook Records – 1988)
Anthology of American Acid House Vol. 2: Werk Songs
LNR “Work It To The Bone” (House Jam – 1987)
Blake Baxter “Body Work” (KMS 1987)
Mike “Hitman” Wilson “Bango Acid” (Trax Records – 1988)
Endless Pokers “The Poke (The After Poke Mix)” (D.J. International – 1988)
Bobby Konders “Version” (Nu Groove 1992)
Phuture “Phuture Jacks” (Trax Records – 1987)
The Children “Freedom (Factory Mix)” (D.J. International – 1987)
Mr. Lee “Never Gonna Change” (Trax Records – 1988)
Pierre’s Pfantasy Club “Fantasy Girl (Club Mix)” (SRO 1987)
Phuture “Slam! (Vocal)” (Trax Records – 1988)
Anthology of American Acid House Vol. 3: Slow Motion Acid
Phuture “Your Only Friend” (Trax Records – 1987)
Adonis “No Way Back” (Trax Records – 1986)
Blake Baxter “When A Thought Becomes U” (Underground Resistance – 1991)
Fingers Inc. “Can You Feel It” (Serious Records – 1988)
Maurice “This is Acid (New Dance Craze)” (Trax – 1988)
Jamie Principle “Baby Wants To Ride” (ffrr – 1988)
Bam Bam “Where’s Your Child” (Westbrook – 1988)
Farley “Jackmaster” Funk & Ricky Dillard “It’s U” ( D.J. International – 1987)
10/24/11
Acid Westerns
'America is not only the inventor of the western it is also a central location and theme throughout the entire genre. Even Italy's Spaghetti Westerns and the eastern Osterns play out in the same dusty US deserts and historical context as the original westerns. So it was that this land became iconic to the films and the films portrayal of the lands history in turn came to be seen as truth rather than fiction and so the two were forever linked. This bond was quickly reflected in the American cultures psyche as the cowboy became "emblematic of a strong, hard, rustic masculinity that settled the west, conquered Indians, tamed a hostile land and ensured the spread of American democracy from sea to sea."
'These values were quickly adopted as the hegemonic norm and so as the country advanced it did so like a cowboy, echoing the movement westward, although now there was nowhere left to substitute as the "untamed land, stretching out endlessly and breeding masculine individualism, heroic action, democratic citizenship and national progress" and so this "drive to master the wilderness and build a new nation" was exported to foreign lands and took the "more troubling form of invasion, subjugation and 'rape' of the land and it's natural resources". There were those however who did not support the use of the gun as a way to further your fortune, be it by a character or a country, and so they took the western, the original propagator of violence as the path towards prosperity, and used it to sell a different message. These people were a part of what was latter termed the 'counter-culture' and these films that they produced are now known as the 'Acid Westerns'.
'The term 'Acid Western' was coined by the American critic and theorist Jonathon Rosenbaum in a piece he wrote on the film Dead Man by auteur Jim Jarmush and it is a very fitting term whose ambiguities of meaning serve well in describing what is otherwise too formless to grasp. There are two distinct meanings attached to the word acid, the dictionary definition which captures the films attempts to corrode through the social zeitgeist of the time by perverting the iconography of the already established genre into pointed criticisms of the world around them. The second meaning inherent in the word is the slang name for a very potent drug known otherwise as LSD. Acid was a highly hallucinogenic chemical that was very popular amongst the counter culture during the sixties and seventies and the qualities of the drug perforates through into their films creating a uniquely mysterious, disturbing and dreamlike atmosphere throughout.
'These qualities are characteristic of the Acid Western however they are not rigidly upheld throughout every example and this is due to the fact that the title was only applied as a categorization after the films' most prominent era. This has lead to some confusion as to whether the Acid-Western is a sub-genre or a movement as it relies on and exploits common features and iconography but also has strong ties to a certain era of filmmakers and the cultural context that surround them. This is an arbitrary argument however and only serves to highlight that it is this ambiguity, vagueness and uncertainty that the Acid Western thrives on.
'As these films are by nature created through contextual transformations there is a vast amount of variation possible in the final product and so at times the links between them can seem tenuous. Monte Hellman's The Shooting is seen in retrospect as the first of the Acid Westerns but at the time it was greeted as little more than a slight variation on the usual formula. Does this make it any less of an acid western than the near unpalatable El Topo or Zachariah which are nearly unrecognizable as a part of the western genre? I hope not. It is because of this that the real cohesion of the category is in the formative stages, all these films begin as a reaction against the western world and genre's proliferation of violence as a reasonable solution; be it against foreigners or ancestors, for money or land. Jim Jarmush describes this collection of films as "Periphery Westerns" which may be accurate in regards to public popularity but in terms of American cultural significance their pointed bite leaves them as valid, if not more so, then any straight western out there.'
Viginti Tres, from Another Magazine 10-22-11
10/3/11
acid snow
A1: Acid Snow (featuring Shay La Rey)
A2: Acid Snow (Night Plane Remix)
B1: Vibrations
B2: SIVA (featuring Athena)
buy vinyl [Phonica]
stream tracks [Soundcloud]
bang mix [CCC]
access further information [CCC]
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