For the past few years of my life I have become increasingly aware of how the worlds you can create in a CD can, on a larger scale, be applied to life, the dreams can come true in every sense that you imagine them to be; that there are no limits in life, which is the temple of materialising dreams. Not just the cover art, but my albums in their entirety have become sigils in a personal sense, in that they help structure the world around my head matrix, which is like my will but uplinked from other people’s heads and the life experiences I am able to create for myself there. For example, I belong to the first church of Lenny Kravitz in West Hollywood. My membership there has helped me with this process: trying to download someone else’s headspace – sometimes the most extreme being that of a virtual celeb image – opened up different aspects of consciousness and life potential and interactions beyond my wildest dreams. I try and bring this to fans of my music via the albums, hoping that the listener will tap into the different worlds represented through the two-step flow of cover art observation to it, then opening up in multiple dimensions through the music joining in, in a progression, to create a virtual reality experience, thereby tapping into their own dream/our dream.
– James Ferraro (https://perfectionofperplexion.wordpress.com/2010/06/09/hipnygogic-poop/)
Category Archives: music
A dark man – what could he want
But a never-ending embrace,
Dolphins in the water, a wood of birches
And a hill from which to watch the Aurora Borealis?
What could he want, this dark man,
But a boat floating on warm oceans without course,
The planes of a treasure island, and a house
That looks over the beach of lost days?
What could he want, this dark man
But a little world, three truths,
Some breadcrumbs for the birds,
And a glass of wine that reflects dreams and cities?
It is like sewing, the rhythm of stitching by hand, which also exists in country blues. When I last met Keiji Haino, we talked about Syd Barrett’s particular, cutting kind of guitar playing. If only the on-beat is used, the song kind of stands still, but with playing off, or behind or ahead of the beat, it can move forward, like sewing. This kind of discovery makes it possible to animate ordinary songs.
…
Error itself can not be a purpose. There is nothing better than not to error. We always try hard to play well, and it is legitimate. However sometimes an error may contain more information than music that is commercially distributed. That is not because of the matter of the error itself, rather it is because of the frame of word that is put on the music by forcing the listener to ask the question why the person had failed. That is why traditional music have no error no matter how it were gauche. The error is a modern outcome. The frame of word as information is an unavoidable matter since the occurrence of the tableau down to contemporary music. Error has two aspects. One is that economic and temporal leeway is necessary for acquiring craftsmanship skills, and that is impossible for multitude. Error is a matter of poverty, and its incentive is not to be attributed to individual laziness. We are alienated from a group of “professional musicians” who are dressed artistically indeed, and most of us except who are allowed to stay home as social withdrawal or who withdraw money from illegal dealings, will finish our whole life without being able to even learning how to play heavy metal shred. Therefore it could be said that errors by our side are revenge against society. It alone could not get empathy of fellows, though. So, another aspect of error is a purely musical strategy. Error is an unexpected event, and is a chain of terrorism and its restoration in music. Now, it could be said that a performance without any accident has no social meaning.
– Tori Kudo