Tuesday, June 9, 2009

experi-mental.


every time i put on a riuchi sakamoto record, i am immediately transported back to the late eighties / early nineties when filmmakers actually took the time to incorporate a noteworthy score into their works. 

before winning an oscar for scoring 'the last emperor,' sakamoto made a lot of awesome noise with david sylvian of 'japan' (one of my many musical idols - 'tin drum' is essential listening), and while listening to 'forbidden colours' recently, i began to feel as though music will officially never be like the recordings of yesterday. 

seriously, what else is there to prove? how is experimental music even relevant nowadays? what sounds can be put on tape that artists like sakamoto, richard d james, robert fripp, brian eno, laurie anderson and robert wyatt haven't already discovered.

matthew herbert is great.
fennesz is amazing.

but there are so few artist out there today that blow my fucking mind. 
i haven't listened to the radio since 1999.


"what happened to music?" - aunt jackie
"who the hell are you, tipper gore?" - roseanne




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