52 replies to this topic

[Shammgod]

Qualcuno lo ha gia' sentito?
Qui ci sono le preview: http://www.cdbaby.co...bincrutchfield3

Ascoltandone qualcuna qui e la' sembra che rispetto ai Dark Day cambino i suoni (da sintetici ad acustici) ma rimanga almeno in parte l'attitudine ai loop e un retrogusto diffuso di allucinazione (non ho fatto troppa attenzione ma mi sembra che ci sia continuita' a livello di melodie).

Chi conosce altro materiale a nome Crutchfield?

[Moreno Saporito]

Qualcuno lo ha gia' sentito?
Qui ci sono le preview: http://www.cdbaby.co...bincrutchfield3

Ascoltandone qualcuna qui e la' sembra che rispetto ai Dark Day cambino i suoni (da sintetici ad acustici) ma rimanga almeno in parte l'attitudine ai loop e un retrogusto diffuso di allucinazione (non ho fatto troppa attenzione ma mi sembra che ci sia continuita' a livello di melodie).

Chi conosce altro materiale a nome Crutchfield?

uno dei più grandi di tutti i tempi del rock

non ricordo quali avevo sentito, comunque come dici tu ce ne sono almeno 2 acustici stranissimi e malinconici, un folk per nani da giardino direi; da recuperare anche l'album della reunion dei Dark Day, Darkest Before Dawn, una roba ambient - medievale quasi buona

niente comunque ai livelli di

http://www.youtube.c...feature=related
http://www.youtube.c...feature=related
http://www.youtube.c...h?v=rXt6j5xrl4M

di fronte a pezzi simili non si può nulla, il giorno piò oscuro è stato quello di quel periodo e non tornerà mai

grazie Robin e grazie a te che l'hai ricordato, piangiamo in silenzio  :'( :'( :'( :'(

[Moreno Saporito]

ricordo che aifarzan lo aveva comprato perchè forse ne parlva THE WIRE, me lo aveva passato lui ecco

peccato non ci sia più il sito di Robin, con le sue fiabe, le sue influenze musicali (robe assurde tipo i Culture Club) e le foto di alcuni pupazzetti

edit: no, quello di cui parli tu è troppo nuovo, comunque il genere è lo stesso penso

[Moreno Saporito]

:'( :'( :'( :'(

amatelo

[Shammgod]

niente da fare lassi, temo che sara' una cosa a due

la ricordiamo cosi':
http://web.archive.o....homestead.com/

[Moreno Saporito]

niente da fare lassi, temo che sara' una cosa a due

beh ovvio, in "Gruppi odiati dagli indie" i peggiori indie hanno fatto bella mostra dei loro dischi da pre-indie, qua tanti saluti

[Shammgod]

visto che non esiste ancora un topic dedicato, metto qui uno scritto di robin sul suo arrivo a new york, la no wave e la nascita del progetto dark day:
http://nowave.pair.c...rk_history.html

[Moreno Saporito]

visto che non esiste ancora un topic dedicato, metto qui uno scritto di robin sul suo arrivo a new york, la no wave e la nascita del progetto dark day:
http://nowave.pair.c...rk_history.html

In the fall of 1997, Dirk Ivens of Daft Records wrote me a letter from Belgium expressing interest in re-releasing my old material. Between us, we assembled a compilation "Dark Day: Collected 1979-82" which appeared in Europe a few months later, but never made it stateside. Dirk seemed interested in releasing additional new material by me, and that inspired me enough to try to work again.

:'( :'( :'( :'( :'(

incontri tra pesi massimi della musica, stupendo, grazie, ti voglio bene

[slothrop]

Lassi, oltre che indie stai diventando sentimentale. Controllati!

[Moreno Saporito]

Lassi, oltre che indie stai diventando sentimentale. Controllati!

forse a te questi album folk di Crutchfield potrebbero piacerti

li hai provati?

e poi questa mattina ascoltavo un disco degli Etant Donnes e ho pensato che, pur essendo molto lontani dal punto di vista delle idee, musicalmente sono un po' merdosi (quando non esagerano col "teatro"), ti piacciono?

[Dudley]

Lassi, oltre che indie stai diventando sentimentale. Controllati!

Ma infatti, lassi poi é troppo catastrofico ... Dei DD si é sempre parlato spesso e bene sul forum, anzi la presenza continua di questo disco su queste pagine mi ha definitivamente aperto gli occhi sulla realtà del download ... un LP che pensavo non avesse nessuno veniva continuamente citato ... e mi dicevo "cristo, mica avranno tutti il vinile originale!!!" 

[slothrop]

Lassi, oltre che indie stai diventando sentimentale. Controllati!

forse a te questi album folk di Crutchfield potrebbero piacerti

li hai provati?

e poi questa mattina ascoltavo un disco degli Etant Donnes e ho pensato che, pur essendo molto lontani dal punto di vista delle idee, musicalmente sono un po' merdosi (quando non esagerano col "teatro"), ti piacciono?

Gli Etant Donnes non mi piacciono. Per il resto non ho ascoltato ma ammetto di aver letto il thread appeno ho realizzato che Crutchfield era quel Crutchfield.

[Moreno Saporito]

"cristo, mica avranno tutti il vinile originale!!!"   

seh, ma se la raccolta costa 80 euro!

[Dudley]

"cristo, mica avranno tutti il vinile originale!!!"   

seh, ma se la raccolta costa 80 euro!

Discogs, Ebay e compagnia bella hanno davvero mandato tutto a puttane ... basta che ci sia un qualche coglione in capo al mondo con un po' di soldi in tasca (avrà ammazzato la nonna, scommetto) ed ecco che subito le quotazioni di un disco salgono stupidamente alle stelle ... � un discorso che sul forum non si é ancora fatto, moderatori non sarebbe il caso di buttar giù due righe su questa situazione?

PS: lassi, degli Etant Donnés hai il box della VOD? Cristo santo, é decisamente ostico!

[Moreno Saporito]

PS: lassi, degli Etant Donnés hai il box della VOD? Cristo santo, é decisamente ostico!

ho solo Mort Aux Vaches, altri li ho sentiti in mp3

cosa contiene?

di recente della VOD ho preso quello della M-squared, quello della Insane e quello degli Ptose da Starèmesto

e a casa nuova non ho ancora il piatto...quello della M-squared non c'è manco in rete

[simon]

visto che non esiste ancora un topic dedicato, metto qui uno scritto di robin sul suo arrivo a new york, la no wave e la nascita del progetto dark day:
http://nowave.pair.c...rk_history.html

In the fall of 1997, Dirk Ivens of Daft Records wrote me a letter from Belgium expressing interest in re-releasing my old material. Between us, we assembled a compilation "Dark Day: Collected 1979-82" which appeared in Europe a few months later, but never made it stateside. Dirk seemed interested in releasing additional new material by me, and that inspired me enough to try to work again.

:'( :'( :'( :'( :'(

incontri tra pesi massimi della musica, stupendo, grazie, ti voglio bene

tra geni!  :-* :-* :-* :-* :-* :-* :-*

[Moreno Saporito]

visto che non esiste ancora un topic dedicato, metto qui uno scritto di robin sul suo arrivo a new york, la no wave e la nascita del progetto dark day:
http://nowave.pair.c...rk_history.html

In the fall of 1997, Dirk Ivens of Daft Records wrote me a letter from Belgium expressing interest in re-releasing my old material. Between us, we assembled a compilation "Dark Day: Collected 1979-82" which appeared in Europe a few months later, but never made it stateside. Dirk seemed interested in releasing additional new material by me, and that inspired me enough to try to work again.

:'( :'( :'( :'( :'(

incontri tra pesi massimi della musica, stupendo, grazie, ti voglio bene

tra geni!  :-* :-* :-* :-* :-* :-* :-*

una eventuale collaborazione tra gli Abs. Body Control (in questo caso meglio i depravati Klinik forse) e i Dark Day avrebbe portato forse al disco totale, quello del baratro, un album per sancire la fine dell'umanità e l'inizio del dolore che finalmente ci porterà davanti a Cristo liberi

meglio smettere di immaginare una roba del genere, c'è la crisi e l'Italia deve combattere

[simon]

degli Etant Donnés hai il box della VOD? Cristo santo, é decisamente ostico!

li conoscevo grazie a una sorta di retrospettiva della Staalplaat, poi mi ha illuminato il peso massimo Paolo Bertoni, con la sua monografia da storia del giornalismo musicale su Blow Up, qualche mese fa. quest'anno non sono abbonato alla VOD, ma ci farò un pensierino; ma fino a questo momento dal punto di vista affettivo sono legatissimo al box di Giancarlo Toniutti.

una eventuale collaborazione tra gli Abs. Body Control (in questo caso meglio i depravati Klinik forse) e i Dark Day avrebbe portato forse al disco totale, quello del baratro, un album per sancire la fine dell'umanità e l'inizio del dolore che finalmente ci porterà davanti a Cristo liberi

meglio smettere di immaginare una roba del genere, c'è la crisi e l'Italia deve combattere

orpo se ti quoto!

[simon]

Gli Etant Donnes non mi piacciono.

:'( :'( :'(

[Moreno Saporito]

Gli Etant Donnes non mi piacciono.

:'( :'( :'(

non gli piace manco Christoph Heemann, smetti di commprare bUP per punirlo!

[simon]

Gli Etant Donnes non mi piacciono.

:'( :'( :'(

non gli piace manco Christoph Heemann, smetti di commprare bUP per punirlo!

ma a Savini voglio bene, è uno bravo e serio

[Moreno Saporito]

http://www.youtube.c...feature=related
http://www.youtube.c...feature=related
http://www.youtube.c...feature=related
http://www.youtube.c...feature=related
http://www.youtube.c...feature=related
http://www.youtube.c...feature=related


se siete uomini piangete!

[fedemone]

Se interessa ho beccato da un matto la raccolta a 10 euro, assieme ad altro materiale decisamente molto fuori stampa...

Con i Dark Day piangere non è un'opzione: farebbero lacrimare anche fiori, piante e uccelli nel raggio d'ascolto

[Moreno Saporito]

Se interessa ho beccato da un matto la raccolta a 10 euro, assieme ad altro materiale decisamente molto fuori stampa...

Con i Dark Day piangere non è un'opzione: farebbero lacrimare anche fiori, piante e uccelli nel raggio d'ascolto

che raccolta?

[Moreno Saporito]

Robin Crutchfield ha accettato la tua richiesta di amicizia su Facebook...  :-* :-* :-* :-* :-* :-*

[music won't save you]

Accidenti, lo scorso anno mi era sfuggito questo topic, ma per fortuna non il disco.
Disco ricchissimo e ancestrale, decisamente fuori dal tempo. Un ascolto non facile, che però può riservare ottime soddisfazioni.

[Moreno Saporito]

Accidenti, lo scorso anno mi era sfuggito questo topic, ma per fortuna non il disco.
Disco ricchissimo e ancestrale, decisamente fuori dal tempo. Un ascolto non facile, che però può riservare ottime soddisfazioni.

io del dopo Dark Day prima edizione non ho ancoa apprezzato nulla pienamente; o forse boh mi pare assurdo un paragone con quella roba (anche in termini di proposta musicale)

per ora intanto mi sta arrivando la ristampina di Window

[Moreno Saporito]

possiamo rinominare il topic in:"tranquilli boys, il giorno più scuro è già arrivato"?

[fedemone]

Collected 1979 - 1982, "ovviamente".  O_O
Darkest before dawn è bello, anche se usare lo stesso nome per Crutchfield è un po' tanto fuorviante, ma i modelli melodici ciclici e minimali son un bel marchio di fabbrica.
Quel che ho sentito della sua svolta "folk" mi pare interessante, e devo raccogliere soldi/tempo d'ascolto per un bell'ordine su CD baby, assieme ad altra roba... Ergo mi ci vorrà ancora mooolto tempo mi sa

[Moreno Saporito]

Collected 1979 - 1982, "ovviamente".  O_O

quando scusa?
è sempre stato sui 60/70

cmq ce l'ho, TIEH!

[fedemone]

Un mese fa, da uno che probabilmente svendeva pure la casa e il duodeno...
Tornando IT, è interessante anche l'etichetta stessa Hand/Eye per cui ha pubblicato un album di "folk"

[Moreno Saporito]

Un mese fa, da uno che probabilmente svendeva pure la casa e il duodeno...

dove?
guarda che lo controllo da un bel po'

[fedemone]

Ahi ahi ahi, non si dovrebbe chiedere le fonti ad un collezionista! Curiosity killed the cat ma tanto per dire che non conto palle:
http://telegiornalis...17e4d796f85642c

Purtroppo il tizio ha venduto quasi tutto, ma tipo i "somewhere in europe" dovrebbe ancora averceli

[Moreno Saporito]

io l'avevo pagato un botto

hai anche ext. angel?
vabbeh sai vero che c'è la ristampa di window, evento dell'anno?

[fedemone]

eh no ancora mi manca (anche se qualche anno fa RObin aveva delle copie in vinile dei suoi dischi. ovviamente prima che scoppiasse il fenomeno minimal synth... ) e purtroppo sì, so di windows, mi è sceso un colpo ma ho il giradischi altrove e son costretto ad ascoltare 99,99% cd, pur a volte comprando dischi che non sentirò se non chissà quando... 

[Moreno Saporito]

eh no ancora mi manca (anche se qualche anno fa RObin aveva delle copie in vinile dei suoi dischi. ovviamente prima che scoppiasse il fenomeno minimal synth... ) e purtroppo sì, so di windows, mi è sceso un colpo ma ho il giradischi altrove e son costretto ad ascoltare 99,99% cd, pur a volte comprando dischi che non sentirò se non chissà quando... 

anche io ce l'ho da mia madre il piatto

robin aveva delle copie che non vendeva se non ricordo male; ai suoi fan più accaniti mandava dei cdr autografati

solo in parte li vedo come minimal synth comunque

[fedemone]

Vero verissimo, ma è con il revival del filone che si son riscoperti, a torto o a ragione... Cmq anche ascoltando i DNA già si sentono certi suoni

[Moreno Saporito]

Vero verissimo, ma è con il revival del filone che si son riscoperti, a torto o a ragione... Cmq anche ascoltando i DNA già si sentono certi suoni

Crutchfield era un nowaver serio: decadente, ricchione e introverso; immenso, mi sa che è anche un po' nazi a leggere certi suoi racconti per bambini, quel nazismo che ti salta in testa dopo che hai sballato tanto con la capa

comunque una volta sul sito (quello che ora non c'è più) aveva pubblicato le sue influenze ed erano incredibili, davvero uno che ha approfondito le cose più disparate

[Moreno Saporito]

crutchfield ha recensito le cocorosie  :'( :'( :'( :'( :'( :'(

sapevo che gli piaceva roba simile ma cazzo!

[Moreno Saporito]

tanti auguri my hero!

[Moreno Saporito]

http://robincrutchfi...hfield-and.html

questo è il nuovo blog del grande Robin, vogliategli bene 4ever!

[Shammgod]

dai ultimamente fa un po' pena, tra le orecchie da elfo e la richiesta di trovargli lavoro come dj lounge...
quasi quasi gli tolgo l'amicizia
(scherzo robin)

[Moreno Saporito]

dai ultimamente fa un po' pena, tra le orecchie da elfo e la richiesta di trovargli lavoro come dj lounge...

un immenso

[fedemone]

Robin è un intoccabile. A me la roba come "darkest dawn" e il cd preso da cdbaby co due album di fairy folk piacicono molto, certo non al livello dei DD veri e propri. Molto ipnotici e sottili, anche se la variaizone sul tema è minima...

Cmq bisognerebbe dirgli che degli mp3 uno non se ne fa nulla!!!

[Moreno Saporito]

http://www.youtube.c...h?v=EMJ_8aMjP8k

Dead Dog Floating and 4 Other Short Films by R.L. Crutchfield. c. 1980.

1. Dead Dog Floating (followed by a dead cat) on the Hudson River in decaying color.

2. Fire In The Ashes (a bookburning torched by Tuxedomoon's Steven Brown on the old Manhatttan West Side Highway) in searing color.

3. Young Laundry (featuring filmmaker Eric Mitchell; artist Diego Cortez; No Wave musicians Lydia Lunch, Bradley Field, and Gordon Stevenson of Teenage Jesus & The Jerks) at various NYC notspots in "if you can call it living" color.

4. Dark Day in Amsterdam (a slight departure featuring Robin Crutchfield, Phil Kline, and Barry Friar of Dark Day during their no wave tour of The Netherlands; chewing Kathy Acker and Adele Bertei) in disappearing black and white.

5. General Accident (featuring Dark Day with Kathy Acker and Adele Bertei and a search for a missing girl) in mystery color.

[Moreno Saporito]

eterno rispetto:

Strep Throat Fanzine Interviews Robin Crutchfield of DNA and Dark Day 05-11 (released 12-11)



- So you're from Ohio. What was that like?

I was born and raised in Dayton, Ohio, only a few miles from the Wright-Patterson Air Force Base, infamous for its Hangar 18, where they supposedly stored the remains of the aliens recovered from the Roswell UFO crash in 1947. My family moved from there to Pennsylvania after I finished first grade, so I have very few memories of Ohio, except for a very vivid supernatural sighting of a mysterious being from my bedroom window one night.

- When you were growing up, what sort of music did you listen to?

My family had little music in the house, although I do recall two 78s from my parents' collection that I was drawn to, the classically instrumental harmonica works of John Sebastian (father of the Lovin' Spoonful musician) and the eerie haunting whistling prodigy Fred Lowery. I bought my first 45 after attending a grade school birthday party where they played rock and roll singles on a fat spindle record player. I loved pop music, especially songs with unusual rhythms or odd sounds and effects. My first single was Sting Ray, by The Routers, a novelty instrumental about the hot rod automobile punctuated by handclaps and car horn beeps. Later favorites were The Beatles, The Supremes, The Four Seasons, Petula Clark, Lesley Gore and many others. In my teens I discovered FM radio and bluesrock artists like Muddy Waters, Howlin Wolf, Johnny Winter, Canned Heat, Fleetwood Mac, Ten Years After. The the psychedelic world folk music of The Incredible String Band and Tyrannosaurus Rex and eccentric experimenters like Moondog, Nico, Eno, Yoko Ono, and Annette Peacock.

- How did you become interested in art?

I always had a knack for art. I filled sketchpads with scribbles and drawings each morning before school while my mother prepared my breakfast. In my teens I was drawn to the nonsensical fantasy paintings of the surrealists, and later to the heady experiments by minimalists and conceptual artists as well as performance artists.

- What made you decide to come to New York?

I studied art in college and was drawn in a more or less natural progression from drawing, to painting, to sculpture and environmental installations to conceptual and performance art. I was introduced by a professor to Avalanche magazine, which shared much of the experimental art activity going on in New York: artists like Vito Acconci, Chris Burden, Bruce Nauman, Lawrence Weiner, Dennis Oppenheim, Richard Serra, Richard Long, Jackie Windsor, William Wegman, Philip Glass and others like Joseph Beuys, Jannis Kounellis, and Gilbert & George. I decided that if I wished to pursue a career in this edgy art, New York was the place I needed to be. In my personal life I'd also been inspired by the PBS portrayal of Lance Loud's life in New York and Warhol's Factory and the edgy flamboyant and gay stuff that was happening there through the PBS series "An American Family". Also, Rock Scene magazines columns by Patti Smith and Wayne County. Working at a book store in a mall, I befriended David Ebony, who shared my interest in art and oddity, and we moved to New York and shared an apartment in Greenwich Village together. (David was later the founder of the band The Erasers and is now editor at Art In America Magazine).

- Can you describe the sort of visual and/or performance art you were involved in before DNA was formed?

One early piece consisted of my wearing bluefaced makeup and sitting for an extended spell on a stool staring at and mirroring the blue static screen of a black and white TV transmission opposite me on another stool. Another consisted of an assistant and myself each inhabiting a large blank canvas bag and placing ourselves in a showcase window in a university hallway where passersby would encounter lumpish bag sculptures that seemed to alter their shapes over the course of a day. We would only shift our positions when nobody was walking by and eventually folks noticed the changes and even engaged us. One girl touched me then drew her hand back in exclamation, "Ooh! It's warm!". That was a wonderful revelation of something I had taken for granted, body heat. My first famously reviewed performance piece in New York was at Stefan Eins' 3 Mercer St. Storefront where my semi-nude body was encrusted by dozens of genderless baby dolls taped to my torso with adhesive tape. My face and hands were decorated with garish lipstick, rouge and polish. The pants and boots were male. I entered the space confronting a bevelled mirror, a cutout 50's illustration of a nurse, and an apron pinned to the wall. A small boombox played a homemade tape of two giggly girls singing "tell me why I love you so". The recording stuck and repeated rhythmically and shifted speeds from highpitched to deepvoiced. I clipped the nurse's head off with shears then pasted it opposite my reflection on the mirror, then cut the apron strings and started removing the dolls from my body one by one and covering the mirror with them until my own identity was completely obscured and all the dolls had bared my body. Then I left the space. The documented performance photo by Susan Springfield, found on my website and my facebook pages has appeared everywhere from a Vancouver Post Card Show to File, Wet, and Modern Painters magazines.

- Most people associate the "No Wave" movement solely with music, but it was also very much about art, film, performance,
etc...can you elaborate?

In the low rent lower Manhattan scene of Soho in the late 70s, many creative kids from all over migrated to New York to experiment across genres and find themselves. This wasn't limited to art, but also, music, fashion, writing, theater, film, performance, dance. Any means of creative expression could be investigated and tweaked. There were readings in various clubs and coffee houses, there was a film movement that settled into a small storefront theater on St. Marks Place. There were experimental fashion shows and theater pieces at Club 57 and The Pyramid Lounge.

- No Wave has been described as a "reactionary" movement. What was your personal reaction to the more mainstream cultural climate at the time?

In Europe, punk was a very political movment. In New York, no wave was a reaction to the norm in art and music. A rejection by rejects of all that came before, all that was acceptable in popular art and music: art that couldn't be bought, taken home and hung on a wall; music that was less than three chords, or defying standard melodies, structures and ideas. It wasn't anymore about having to please executives at a major label with marketability or paint enormous bloated canvases for expensive gallery owners/ walls to impress wealthy collectors. It was DIY time. Indie labels and loft apartment or storefront galleries or streetworks. The two most important inventions of the 70s, in my opinion, were the Sony walkman and the Xerox photocopy machine. Between them one could make their own music for share or sale and manufacture cover art and street posters to promote gigs or art events. All could be done with very almost no money. Artists were selfmade and not at the mercy of authority figures.


- What's the story behind the formation of DNA?

Impressed by an early gig of Teenage Jesus & The Jerks, I approached Lydia Lunch to see if I might join her band on keyboards. She was downsizing their efforts at the time and shunting James Chance off to do his own thing with The Contortions. So, she said no, but suggested I start my own band and recommended her two fifteen-year-old sister roadies to work with, or an acquaintance named Arto Lindsay. Arto and I were of similar age and both friends of Lydia and her friends in a band called Mars. We sat together at a CBGB's table and discussed similar interests in art and music ideas. My most inspirational album towards working in DNA was Yoko Ono's Plastic Ono Band album released about eight years earlier, that seemingly pitted order against chaos. I used that as a model for what I wanted to do in DNA. I embraced Brian Eno's notion of the nonmusician, as I had little or no formal musical training, and as an artist, loved the idea of creating something from next to nothing but a few simple tools: cheap instruments at hand that we couldn't play. Arto knew Terry Ork who booked audition nights at Max's Kansas City and offered us a date 28 days after hearing of Arto and I starting the band. It was orginally a four-piece, but two members jumped ship in a panic at the short rehearsal time. Arto and I embraced the challenge and drafted Ikue on drums to complete the trio which debuted on schedule 28 days later with a 20 minute set.

- Can you talk a little bit about Brian Eno's No New York project and how you got involved?

I still can't recall whether it was Adele Bertei or Nina Canal who knew Brian Eno, when he came to town, and suggested he come to check out a week of new experimental bands playing at Artist's Space, a Tribeca art venue that didn't usually host amplified performances. He showed up with John Rockwell, reviewer from the New York Times, and the project was initiated a few days later, after his having seen the four bands that played the closing two nights. Those were the four bands that ended up on the record. We recorded in a studio on Greene Street that Philip Glass had been using. The sessions were real time live in the studio takes. Two takes of each song I think, with little interference from Eno. His contribution was mixing with the sound engineer.

- Since No Wave was pretty concentrated and short-lived, all of its associated musicians and artists must have been at least familiar with each other. Can you talk about some of the relationships and interactions you had with other No Wave pioneers?

After the initial burst of creativity, members of the bands began to crosspollinate and collaborate with musicians from other bands for one-offs or side bands. After I left DNA and decided to form Dark Day, I worked with Nina Canal of The Gynecologists and Ut, Nancy Arlen from Mars, Stanton Miranda from Thick Pigeon, Laura Kennedy from The Bush Tetras, Fred Szymanski from Ikeyard and others. The grouping that jelled for the single was myself, Nina and Nancy. But, they didn't wish to maintain a band, being devoted to their own bands. So, we just recorded the two tracks 'Hands In The Dark" and "Invisible Man" for the Lust/Unlust single, then I went on to try and find other musicians to record an album and tour. I ended up with David Rosenbloom of Chinese Puzzle and Phil Kline later of The DelByzanteens. This grouping even shifted a bit over time and disbanded prior to my doing a second album.

- Can you recall weirdest, most insane thing that happened to you in the mid-70's?

Well, there was meeting Dali and Gala, and Warhol and William Burroughs, or hanging out with Ray Johnson and meeting Divine, or visiting Jack Smith's apartment; dancing with Jackie Curtis, meeting Ondine. But the one that stands out is the night of the New York City blackout in the Summer of Sam. I was jamming in a Chelsea basement with Johnny Dynell and Anne DeLeon (Alan Vega's girlfriend). The power went out and we walked downtown to Christopher and Bleecker where artist David McDermott stood in 1920's garb on a corner with a wind-up Victrola playing old 78s to the silent masses. A small sign he'd pinned to the side of a building read '1928'. It was a magical yet eerie Twilight Zone moment of man at nature's mercy without the comfort of electricity. I think there was some rioting and looting over the course of the next couple of days, but that night was peaceful and communal and very nice.

- After you left DNA, you formed Dark Day. Can you talk about that transition and how your interests evolved over the years?

DNA approached music from complete ignorance. We were experimental babies taking formative steps. But after slowly progressing for nine months, I felt like my comrades were no further along than when we started. We would rehearse the same songs ad nauseum and they never sounded the same twice. Some might appreciate this degree of improvisation. I just felt frustrated. I needed an evolution of order and structure and left to find it through Dark Day. In each grouping of individuals during the varying phases of Dark Day, I had to compromise my vision to offer creative input from my collaborators. I wasn't paying them, and this was the only thing that kept them in my band. I couldn't exert too strict a hand, yet still held a firm direction over which ideas presented met my vision, and which ones didn't. Generally, after a period of time, either I, or my collaborators lost interest, or found it elsewhere, ending that phase of the band and pushing it on to the next incarnation. It went through many phases categorized as no wave, cold wave, dark wave, proto-electronica, and medieval pagan until finally I was able to afford a computer and software to allow me total freedom to do it myself as a cyclic midi-electronic project. After some reflection on the millennium, I pulled away from electronic instruments and embraced ancient ones that needed no electrical support from artificial means beyond my control. I had always been fond of Nico and Moondog and timelessly ancient-sounding musics, and my adoption of harp, psaltery and tanpura drone, as well as some African drums, filled my soul with joy. The otherworlds of timeless daydreams unfold new vistas to my creative output and I continue to play and record with that in mind.


- What is your life like now? Is it true that you are currently more involved in literature and the visual arts?

I continue my fascination with researching the unknown, the supernatural, the metaphysical and the mysterious. I have written a series of faerie tales available at lulu.com and I sometimes paint and continue to draw. Occasionally I experiment with making film clips to my music that can be viewed on YouTube.

- What music do you listen to lately? Are there any new or current bands that you admire?

I rarely go out to clubs or concerts anymore. I don't buy magazines because they'll take over my small apartment. So, I have little exposure to new music and only seem to happen upon it by accident, a reference to a computer link, or a visit to a record shop where something is being played that I like. The last albums I got truly excited by were the debut album by Feathers, the mysterious toylike experiments of Colleen on The Golden Morning Breaks, and Grey Oceans by CocoRosie.

- New York has undoubtedly changed over the years. What do you think of its music and art scenes now?

Artists like oysters are most creative when their existences are taxed by hard times, low wages, and a frustrated limitation to express oneself. Oysters take a bit of grit that rubs them the wrong way and fashion a pearl out of it. New York City these days is much too expensive to attract creative kids who can get by on little. The self-entitled youth of today are upwardly mobile and helplessly dependent on their cell phones and computers. I do believe at some point, a group will rebel and cast off technology and finance and find their way to new creative solutions that will turn the art and music worlds on their respective eyes and ears.

- What's your favorite synthesizer?

I don't favor technology anymore It just puts money in the pockets of big businessmen.

- Do you have any advice for all of the poor young people attempting to pursue art and music?

Pick up sticks and stones. Take castoff materials and make them your tools. Take the things that can't be manufactured, your voice and your ideas and find your own way to express yourself. Don't let politics, fortune, or fame enter into your creative process. Reject the world of celebrity. Go off and find your own spirituality. Defy the 'business' of art and music. Make art and music to please yourself without a thought to pleasing others. Find your own flow, then go with it, and you'll feel truly rewarded with joy in your heart.

[Moreno Saporito]

CARMINE LA SCHIAVITù è FINITA!


http://www.darkentriesrecords.com/
Our next two releases will be ready in early April:
...
DE-025 Dark Day - Exterminating Angel LP


http://www.youtube.com/watch?v=QfZzmUkQJio&feature=related

[simon]

CARMINE LA SCHIAVITù è FINITA!


http://www.darkentriesrecords.com/
Our next two releases will be ready in early April:
...

DE-025 Dark Day - Exterminating Angel LP


http://www.youtube.com/watch?v=QfZzmUkQJio&feature=related

ERA L'ORA BIG TIME

[Moreno Saporito]

[Moreno Saporito]