Heartland

totally missed my point, dick

you really are becoming a pest

James Blast wrote:totally missed my point, dick

you really are becoming a pest

Not talking to me?

IZ.

nope, the mental Being above yours, it was an accident of the internets Iz

James Blast wrote:nope

'ight!

IZ.

see edit Dad

James Blast wrote:see edit Dad

lol fort so!

IZ.

James Blast wrote:as Plateau, or maybe it was So Krates said-

Here's something unpleasant: All art comes from demons. Not real demons, in most cases, but demons of angst and horrible memories and sexual frustration. You get beat up in school because, while the cool kids are putting bruises on each other on the football field, you were sitting on the steps writing your science-fiction stories or reading books waaaay above your head. That fear and tension that winds itself around your soul like steel wire as you try nervously to sneak out of the locker room before the big kids give you a wedgie or laugh at your winkle in the showers and skiddy underpants in the changing area, all that builds up into adulthood. Art is how you let it out.
It was an angsty bastard who introduced the world to 'Damage Done' by showing no regard for recording techniques or musical capabilities then cooly walking away, scoring some shit and moving onto something tangible and pretty dangerous.

Now, if the artist is lucky, that angst goes away. If the audience is lucky, it doesn't. The art dies with the angst, you see. By middle age the artist finds himself watching old films, television and listening to his once angsty period. Trying to make stuff that sort of looks and snouds the same. It gets bland. It gets tired.
It's not just with music, you can see this happening in other forms of art/meeja.

Every artist needs challenges.

Well, but what if he don't bother anymore ... ...

Hell, ... ... there's no escape anyway, because the human body & soul have their own rhyme & rhythm ... and a will ...

so one day that artist might wake up ... like a beetle on his/her back ... : ... ... ...



Well, I really don't want to make a joke of emotions and/or relations. Such things deserve respect just because they are so important ...
also, one can forever wait on for the great curve to come. I think it's mostly taking joy in the things one does ... so: en-joy yourself, but how?
Yeah, it's all easy words ... compared to actually facing/doing the things one wants ...


But anyway, back to the topic:
all this discussion does clearly not account for Eldritch ... we've seen him in best joking mood already last year ... ...

And The Sisters have developed widely since. Just read that Sonisphere interview ... or listen to the one of Chris and Ben there ...
the effect did already gain momentum in Helsinki when they played More for example...that worked out just great, wonderful ...

And now, even Eldritch's cat is saying Hi on the radio ... ... ...




@ Izzy ... especially coke ... ..., which makes a great laughter of everything one (or even worse: others) might suffer ...
Fact is though, that we do have to bear the effects now of endless loads of such "great" coke music ... * not to mention the side-effects for the artists ... ...

Btw, that's one point why I definitely love SSV ... and why I think it was the right measure ... but I do also like the music ...

In addition, I find it adorable how little effect all those presumed amphetamines actually had on Eldritch at the time ... ...

Being645 wrote:In addition, I find it adorable how little effect all those presumed amphetamines actually had on Eldritch at the time ... ...

Dental work can be very expensive.

markfiend wrote:

Being645 wrote:In addition, I find it adorable how little effect all those presumed amphetamines actually had on Eldritch at the time ... ...

Dental work can be very expensive.

Wow! This thread has been derailed like a freight train painted in the shiniest shades of yellow and blue!

Back on topic:

I'm actually rather stoked about the idea of a live album of all the unreleased songs. Perhaps as a promo for it, Far Parade could be the only song that has a studio version as a single release?

Wonder what it would take to make it be one of those iTunes songs of the week and get those little promo cards distributed to Starbucks? I'm sure it's something Apple might consider as part of an exclusive distribution deal through iTunes?

@Prescott: Alice don't give it away. But please come back from Wonderland. Or just stop drink coffee with that much sugar.
P.S.: Almost 9 pages of being more on than off topic it's still small wonder in e-world. Dontch'ya think so ?

Bartek wrote:@Prescott: Alice don't give it away. But please come back from Wonderland. Or just stop drink coffee with that much sugar.
P.S.: Almost 9 pages of being more on than off topic it's still small wonder in e-world. Dontch'ya think so ?

Ah yes, but not all nine pages worth has been off-topic, or this thread wouldn't have already had almost 7,000 views in just under a week and a half would it?

I like Wonderland very much, Go Ask Alice, she'll tell you. And I do put too much sugar in my coffee, especially while researching the inter-related nature of 1980's born post-punk bands from the UK and What They Have In Common.

Yet I like my coffee black, when I'm busy dreaming of a new Sisters record, which is most of the time.

James Blast wrote:as Plateau, or maybe it was So Krates said-

Here's something unpleasant: All art comes from demons. Not real demons, in most cases, but demons of angst and horrible memories and sexual frustration. You get beat up in school because, while the cool kids are putting bruises on each other on the football field, you were sitting on the steps writing your science-fiction stories or reading books waaaay above your head. That fear and tension that winds itself around your soul like steel wire as you try nervously to sneak out of the locker room before the big kids give you a wedgie or laugh at your winkle in the showers and skiddy underpants in the changing area, all that builds up into adulthood. Art is how you let it out.
It was an angsty bastard who introduced the world to 'Damage Done' by showing no regard for recording techniques or musical capabilities then cooly walking away, scoring some shit and moving onto something tangible and pretty dangerous.

Now, if the artist is lucky, that angst goes away. If the audience is lucky, it doesn't. The art dies with the angst, you see. By middle age the artist finds himself watching old films, television and listening to his once angsty period. Trying to make stuff that sort of looks and snouds the same. It gets bland. It gets tired.
It's not just with music, you can see this happening in other forms of art/meeja.

Some good points James and a great line about the angst going away. Might ahem appropriate that! But i have to disagree, many artists in all forms of art have produced great work in their later years. In music Mr Cohen would be one example, in visual art Lowry to name a fav of mine as another. I think it's all about continued stimuli whether its angst, politics or whatever as well as either a continual refining of what you do or even if you think you've reached a dead end a complete reinvention. As somebody who has reached their ahem mid-period it isn't childhood traumas that drive me on (hell i can't even remember most of them!) but rather seeing what I can do next. Admittedly I only curate exhibitions and co-ordinate a little magazine but there's an energy in the possibilities of what can be done, if that makes sense. In other words it's the doing, the putting theory into practice, the experimentation that keeps it going. And the possibility that one day in my case I might get the damn thing right!

I don't know anything about being an artist, so take this for what it is, but I suppose it also depends on what you try to express through your art. If Eldritch was still stuck trying to do the Damage Done punk thing, not having progressed from that point but not quite capable of grasping the old mentality either, it probably would fall flat as Blast said. Thankfully Eldritch isn't, and has other things to say now and is saying them better than ever (through the live performance, where he can capture the feeling and sensibility of Summer, Susanne, Vision Thing etc perfectly - though you will disagree)

The Four Quartets are different from Prufrock, and probably motivated by different things, but still at least as good. Though admittedly the Prufrock reading by a grown-up Eliot wasn't that great. I guess Eldritch's appreciation of some of the very old topics might have become more aestethic than personal over the years as well, if it wasn't that way from the start. If that was the aspect of the Sisters that drew you in, then I can sort of understand the current disappointment.

James Blast wrote:as Plateau, or maybe it was So Krates said-

Here's something unpleasant: All art comes from demons. Not real demons, in most cases, but demons of angst and horrible memories and sexual frustration. You get beat up in school because, while the cool kids are putting bruises on each other on the football field, you were sitting on the steps writing your science-fiction stories or reading books waaaay above your head. That fear and tension that winds itself around your soul like steel wire as you try nervously to sneak out of the locker room before the big kids give you a wedgie or laugh at your winkle in the showers and skiddy underpants in the changing area, all that builds up into adulthood. Art is how you let it out.
It was an angsty bastard who introduced the world to 'Damage Done' by showing no regard for recording techniques or musical capabilities then cooly walking away, scoring some shit and moving onto something tangible and pretty dangerous.

Now, if the artist is lucky, that angst goes away. If the audience is lucky, it doesn't. The art dies with the angst, you see. By middle age the artist finds himself watching old films, television and listening to his once angsty period. Trying to make stuff that sort of looks and snouds the same. It gets bland. It gets tired.
It's not just with music, you can see this happening in other forms of art/meeja.

I seem to recall Von actually saying something to this effect in an interview, or maybe in UTR, back in the 90's: no one wants to hear songs about Andrew Eldritch and how he Hoovers. If his life is calm, pleasant, and uneventful, good for him.

sultan2075 wrote:no one wants to hear songs about Andrew Eldritch and how he Hoovers.

Kiss The Carpet?

centurionofprix wrote:I don't know anything about being an artist, so take this for what it is, but I suppose it also depends on what you try to express through your art. If Eldritch was still stuck trying to do the Damage Done punk thing, not having progressed from that point but not quite capable of grasping the old mentality either, it probably would fall flat as Blast said. Thankfully Eldritch isn't, and has other things to say now and is saying them better than ever (through the live performance, where he can capture the feeling and sensibility of Summer, Susanne, Vision Thing etc perfectly - though you will disagree)

The Four Quartets are different from Prufrock, and probably motivated by different things, but still at least as good. Though admittedly the Prufrock reading by a grown-up Eliot wasn't that great. I guess Eldritch's appreciation of some of the very old topics might have become more aestethic than personal over the years as well, if it wasn't that way from the start. If that was the aspect of the Sisters that drew you in, then I can sort of understand the current disappointment.

I don't think he's done expressing himself that way. I think from old interviews one can gather that aesthetics has always been important to him. Yet also philosophy, philology, politics, etc. I don't think the songs we credit him to being a lyrical genius necessitate angst either. Although angst can die down over the years until it becomes a subdued malice towards certain things in life, which I don't think has gone away.

Intellectually, I'm sure he's at the top of his game. The raw emotional qualities that are glaringly apparent in the 1984-1986 Sisters material are snap-shots of that point in his life. Just because the man doesn't have the same issues going on now as he did then, does not mean he isn't capable of being creative.

Prescott wrote: Just because the man doesn't have the same issues going on now as he did then, does not mean he isn't capable of being creative.

A sudden spurt hardly seems likely at present. As others have pointed out, would still be a few tunes away from a full album even if he included all the new songs premiered live since 1990 which were not co-written by those no longer in the band. He could always fill it up with cover versions not yet afforded studio versions (Comfortably Numb, Teachers, Gimme Gimme Gimme et al) and more updated versions of early classics (Adrenochrome [2011], anyone ?) !!

I would say that from '97 to the early noughties, still entertained the idea of a new album. He'd written a bunch of new songs with Pearson, and, to a lesser degree, Varjak, and had obviously been pleased enough with the results to perform them.

If we take the Adam issue into consideration, to me, his alleged rebuttal of a digital release is an understandable one. Correct me if I'm wrong, but he wrote the bit on the Girls' website about making it in the music biz. To him, a Sisters album with a fair-sized record label would've meant a nice, big share on the royalties, as he would've written the bulk of the songs.

With that, we'd have Adam championing a record deal.

has revenue off the back catalogue, touring and merch. With a label involved, his benefit would've been significantly smaller than Adam's. would've gotten most of the money, but he would've also faced more additional workload, as well as contractual obligations.

With that, we'd have aversing a record deal.

With this line of thinking, W14 would've been a year or so too late with their approaching the Sisters camp. What really happened with that is anyone's guess, but looking back, I wonder how Adam would've gone with it.

copper wrote:I would say that from '97 to the early noughties, still entertained the idea of a new album. He'd written a bunch of new songs with Pearson, and, to a lesser degree, Varjak, and had obviously been pleased enough with the results to perform them.

If we take the Adam issue into consideration, to me, his alleged rebuttal of a digital release is an understandable one. Correct me if I'm wrong, but he wrote the bit on the Girls' website about making it in the music biz. To him, a Sisters album with a fair-sized record label would've meant a nice, big share on the royalties, as he would've written the bulk of the songs.

With that, we'd have Adam championing a record deal.

has revenue off the back catalogue, touring and merch. With a label involved, his benefit would've been significantly smaller than Adam's. would've gotten most of the money, but he would've also faced more additional workload, as well as contractual obligations.

With that, we'd have aversing a record deal.

With this line of thinking, W14 would've been a year or so too late with their approaching the Sisters camp. What really happened with that is anyone's guess, but looking back, I wonder how Adam would've gone with it.

Unfortunately it seems neither Adam or Andrew are willing to openly discuss this. I find it difficult to believe that Adam leaving the band was amicable, what with the comments about Adam building his studio, then "burning it down", and the lyrics to Still, which seem at least partially directed at Adam.

Maybe someone here could convince Adam to do a Gary Marx style HL interview?

Please, everybody, it's such a bourgeois cliché that an artist has got to be a wreck, and I'm afraid such prejudice encourages a lot of people (and audience) into thinking someone's doing "art", just because they are messed up For example, Gerhard Richter:



sounds like the most boring regular dude one could think of.

Ceterum censeo live album esse publicendam.

Please feel free to correct me, I know my Latin sucks!

Sita wrote:Please, everybody, it's such a bourgeois cliché that an artist has got to be a wreck, and I'm afraid such prejudice encourages a lot of people (and audience) into thinking someone's doing "art", just because they are messed up For example, Gerhard Richter:



sounds like the most boring regular dude one could think of.

Ceterum censeo live album esse publicendam.

Please feel free to correct me, I know my Latin sucks!

"Sounds like the most we can expect is a live album release."

I agree. It sure would be nice.

What i do not get though in all this talk, is that isn't SOME money (digital album, live album, ep's, indipendent label, etc, etc) better then NO money (not releasing anything at all)?

I mean, maybe I am a bit simplistic, but seriously, we are talking about writing and recording songs (which they obviously have) and then chose to get NO money for it all, becasue they can not get TONS of money. The logic just falls down and dies there.

So back to topic: Give us a live album allready!

il duce wrote:What i do not get though in all this talk, is that isn't SOME money (digital album, live album, ep's, indipendent label, etc, etc) better then NO money (not releasing anything at all)?

I mean, maybe I am a bit simplistic, but seriously, we are talking about writing and recording songs (which they obviously have) and then chose to get NO money for it all, becasue they can not get TONS of money. The logic just falls down and dies there.

So back to topic: Give us a live album allready!

Exactly my point! Presumably (and perhaps it's been mentioned in interviews) they record all of their performances, so releasing a live album would only add to their profit margin.

I understand that as a matter of giving back to the world the values one
gets - in all consequence. Of course, this looks as if a few perspectives were
missing, but these don't help if you're say "structurally" hindered anyway to
enjoy that part of your intrinsic "yields". Thanks.

Being645 wrote:I understand that as a matter of giving back to the world the values one
gets - in all consequence. Of course, this looks as if a few perspectives were
missing, but these don't help if you're say "structurally" hindered anyway to
enjoy that part of your intrinsic "yields". Thanks.

And what, damage control technician #93, would those "structural limitations" be exactly? Oh, and how are you privy to such information?