The Art of Beauty
Promo featuring "Am I Fiction?" by coL
The balance between pop music and art has been quite abstract in the last 30 years. The work of Talking Heads and Composer -
Producer Brian Eno in the early 1980's is such a harmony. The focus of popular musics has largely been a systematic formula
of what Eno describes as "very pyramidal". A class system where the lead vocal is at the head of the class.This legates the
rest of the instruments and sounds to the backround. What interests coL is the scope of many sounds building to create a
sonic landscape that is similar to a flat shape. Also, to have each piece of music (song) exist on it's own in space. Not rooted
down by any chord structure or boundary. A lot of what Eno was aiming for, while creating such work, was to physically place
the concept of music in a new place, as well as in our minds. It is brave. A lot of what makes up the nature and scape of
coL's music is similar. The focus of creating sounds that are understated and modest releases them from any role
or idea, and they are free to go where they may, very similar to the concept of improvisation.
March / April 2006
"JesusWarhol Records and all the industries of Colin Lipe are coming to a place where people who not only want escape,
but escape forward, can find a friend, ear, and object of both implicit function and exquisite beauty. Dancers,farmers,
philosophers, and pizza makers all have a valued position in the world of coL. Try playing some James Brown and watch
the vibrational patterns of the universe show themselves to you. Love the old fashion way. Selfless.
We wouldn't work without us."
2008 / 2009
Sand and The Exploding Plastic Kaleidoscope featured.
Music From Another Surface
I have been a quiet observer of coL's work since I first read that he performed drums on one of Ariel Pink's Paw Tracks releases.
I must admit though, that due to no one (including coL) making a big fuss or push - to get his stuff into the mind of his generation,
I have been hesitant to dive into his immense and overwhelming catalog of 47 albums. Where do I begin? I mean, if someone
has 3, 4 or 5 albums, one can
pick an album that is newest or start from the first. You don't feel like you've missed too much of
their output, up to this point. But, with coL, there is already, due to his enormous library, this sense that you have missed out
on something, and that is kind of a mind-fuck, seeing as how most people have never even heard of him! I have put this past
me, and gone into the depths. Well, I bought an album - finally. I picked his 42nd (and I know that sounds strange) album:
"The Temple is Burning" from 2007. With an opening line like: "You're so afraid to kill who you are, and begin again."
like nothing else is out there. What is weird is the sense that coL would rather have the story or meaning behind the songs
accepted or taken in, then his persona. There is also something else going on. These are no pop songs. I am not even sure
if they can be called "songs". They are intense, and the use of music for coL seems to be a way of expression, the way video
was during the 80's with such work as 14 video paintings; "I see TV as a picture medium rather than a narrative medium.
Video for me is a way of configuring light, just as painting is a way of configuring paint." - Brian Eno. I believe coL
uses music just the same way. He is an artist, and this happens to be a medium in which he expresses himself.
Sleep and Be Sheep
When I Dream Underwater – The Sound of coL - Interview
"No indication of importance (individuals, musical recordings, or web content)."
Music From Another Surface
UNFORMIND by Unformind. Yet, another new an interesting artist from the JesusWarhol Records catalog. This debut album
by Alessandro Chello aka Unformind, reaches far beyond the work of a newcomer. Chello's music seems to be a lost
companion to the likes of Richard D. James or μ-Ziq, yet Chello's sounds drift into much more spacy areas, lending
themselves to the notion that he may be from the same universe as James & Paradinas, but maybe not the same planet.
And his haunting electronics seem to yearn for touchdown on our world, or any other that may welcome him with love.
The clean and precise compositions mixed with synthetic drum beats that sometimes sound like live drums, make for
quite a refreshing dose of computer music. To try an put into words the arrangements and complex overtones of this
album, would not do justice to the composer. So go buy this album now! If you are confused and overwhelmed by the
fact that JWR only sells it's releases on it's own site, and not 30 other sites, like most labels, get over it. What makes
something special is the fact that there is not one on every corner.
Richard Sax Ross is 'The Man From The Nearly Recent Future' according to the title of his newly released EP,
though he might be better known as one of the oddballs that make up Ariel Pink's band Haunted Graffiti. The Californian
musician uses an interesting ploy in his solo work. He plays a MIDI saxophone to record guitar, bass, and synth melodies
into his experiemental pop pieces. Unsuprisingly, the results are mind-boggling.
Richard Sax Ross featured.
L.A. Record Magazine
Ariel Pink compatriot / outré auteur Richard Sax Ross comes off like The Idiot-era Iggy with Gary Wilson's set of obsessions -
sex, girls, the unceasing chatter of a mind confined behind a mask of garbage - and production so perfect and clean it's best
described as "pharmaceutical grade." Which of course is a nice contrast for the actual vibe, which is sleazy to point of surreality,
like Burroughs, Lou Reed when he was feeling nasty... and how about porno-psychedelicist Rinse Dream, who plumbed the video
id of america like no other? "Town Slut" is a Devo-style basement-dweller sex fantasy with a Gary Wilson perspective - i.e. it's got a
beat and you can disgust yourself to it! And lyrics that read like one of those semi-coherent porno stories Ed Wood would write for
angora-sweater money, while "Do Me" is like one of those turn-of-the-70's Kim Fowley productions where he'd spiel instantly and
brilliantly on some grosso teenage theme. (Also: genius break with a fed-up woman groaning, "Ah... fuck." Says it all!)
If - like me - you ever wished there was an entire genre of music based on the 6:46 mark of The Idiot's closer "Mass Production,"
where synths vomit and pass out right before your ears... Richard Sax Ross isn't far off. First track "Join The Machine" (featuring
Ariel, somewhere) has so many deliberate little devices working at once I still can't totally figure it out. Like a caveman looking
at a UFO, I can only tell there's something serious at work - and then suddenly, I'm disintegrated.
Richard Sax Ross Top-Ten Favorite Songs