4ad-l Mail for 04-20-1996

Mail in Archive

Subject: Re: The Aphex Twin
Date: Sat, 20 Apr 1996 04:39:42 GMT
From: Paul Spirito (spiritop@WINTHROP.SLIC.COM)
Subject: Re: v23 grossout cover art
Date: Sat, 20 Apr 1996 04:00:49 -0700
From: einexile the meek (einexile@NETCOM.COM)
Subject: Re: v23 - ug
Date: Sat, 20 Apr 1996 04:08:56 -0700
From: einexile the meek (einexile@NETCOM.COM)
Subject: Re: Even more childcatcher
Date: Sat, 20 Apr 1996 15:02:37 -0400
From: Chris (lccapsn@IOE.AC.UK)
Subject: Re: pale saints lyrics
Date: Sat, 20 Apr 1996 09:23:09 +0000
From: Jason Wintz (moran@HAL-PC.ORG)
Subject: For those interested in Pale Saints lyrics
Date: Sat, 20 Apr 1996 09:57:40 -0500
From: "Luis B. Abcede" (st5sd@JETSON.UH.EDU)
Subject: Re: The Aphex Twin
Date: Sat, 20 Apr 1996 18:24:51 +0200
From: Lars Magne Ingebrigtsen (lars@EYESORE.NO)
Subject: Mojave 'Mercy' single
Date: Sat, 20 Apr 1996 20:28:04 +0200
From: Frank Brinkhuis (frankbri@PI.NET)
Subject: Re: Childcatcher - original version
Date: Sat, 20 Apr 1996 12:04:12 -0700
From: Sex Dwarf! (beswick@chaph.usc.edu)
Subject: Re: gripe about the people at 4AD US
Date: Sat, 20 Apr 1996 11:57:04 -0700
From: Sex Dwarf! (beswick@chaph.usc.edu)
Subject: Re: STP helL.A./v23
Date: Sat, 20 Apr 1996 12:14:18 -0700
From: Sex Dwarf! (beswick@chaph.usc.edu)
Subject: Re: v23 - ugh!
Date: Sat, 20 Apr 1996 11:48:07 -0700
From: Sex Dwarf! (beswick@chaph.usc.edu)
Subject: In a cow's eye!!
Date: Sat, 20 Apr 1996 12:22:34 -0700
From: Sex Dwarf! (beswick@chaph.usc.edu)
Subject: Re: STP helL.A./v23
Date: Sat, 20 Apr 1996 15:03:22 -0500
From: HORTMAN_M@HCCS.CC.TX.US
Subject: v23 art works
Date: Sat, 20 Apr 1996 23:28:15 PDT
From: naor (naor_y@NETVISION.NET.IL)
Subject: toopure website thing
Date: Sat, 20 Apr 1996 16:44:17 -0500
From: the silky smooth sounds of heath byers (wbyers@INDIANA.EDU)
Subject: Re: misery loves (the record) company
Date: Sat, 20 Apr 1996 18:48:02 -0500
From: Rob (robw@VISUALLINK.COM)
Subject: Re: gripe about the people at 4AD US
Date: Sat, 20 Apr 1996 19:52:03 -0400
From: Lesley Barnett (barnettl@DICKINSON.EDU)
Subject: Re: Misery loves (the record) company.
Date: Sat, 20 Apr 1996 17:52:32 -0700
From: David Mccallum (mccallum@EFN.ORG)
Subject: Re: gripe about the people at 4AD US
Date: Sat, 20 Apr 1996 19:16:15 -0700
From: esp raincloud (kelli@NETCOM.COM)
Subject: Re: volume series. is it difficult to...
Date: Sat, 20 Apr 1996 20:09:53 -0700
From: aka Wavequeen (uthelene@IX.NETCOM.COM)
Subject: Re: The Aphex Twin
Date: Sat, 20 Apr 1996 21:34:24 -0800
From: Jens Alfke (jens@MOOSEYARD.COM)

Date: Sat, 20 Apr 1996 04:39:42 GMT
From: Paul Spirito (spiritop@WINTHROP.SLIC.COM)
Subject: Re: The Aphex Twin


To -- though I know it's in bad taste -- follow up my own post: it's
occurred to me there's a hell of a lot of repetition in most music.
The difference is that the repeated parts (for example, the bass line)
tend to be relegated (mentally and compositionally) to the background,
and the focus shifted to a progressive component of the music. For
example, in a typical pop song you might first notice the bass or
guitar (or whatever) riff. You quickly take that for granted (it's
repetitious), and your attention shifts to the melody of the vocal. By
the second verse -- when it's repeated -- you take that for granted
too, and you pay more attention to the words (if you've ever listened
to a long strophic ballad in a language you don't understand and found
yourself clawing for the lyric sheet by the third verse, you'll know
what I mean): it's hierarchical: rhythm>harmony>melody>words. This,
presumably, corresponds to some sort of mental structure. A part of
your mind that's happy with the right kind of repetition responds to
the rhythm (and you shake your booty), the language centers respond to
the words etc. So you're totally involved. And it all works together,
so the mood made by the melody upon your emotions renders the words "I
will always love you" -- or whatever -- inarguable. This is why a lot
of effective lyrics read like crap -- you had to be there.

So this is pretty sensible way to make music, but breaking the rules
can offer new perspectives. For example, suppose the lyrics are
largely incomprehensible. You already know the singer's affect -- it's
supplied by the music -- but you don't know it's cause. In real life,
witnessing a strong emotional expression without knowing its cause is
often a powerful experience. The intellectual knowledge of the cause,
when it comes, usually serves to moderate, rather than intensify this
experience. It's the skill of a good lyricist to invoke a cause that's
more powerful than ignorance. Most lyricists fail, and there's been
many a song I've ceased to like after discerning the banal lyrics.

Ambient often breaks the rules by bringing sounds that would normally
classified as "background" or "noise" to the fore (hence the name).
This engages the intellect differently. In particular, it makes the
music more visual: rather than spending your mental energy parsing a
logical argument, you're "looking around" at the scenery. It's the
difference between standing in a field talking to someone, and just
standing in a field. Either way the brain tries to perceive the
object, but the mental capacities invoked as useful differ.

God, I'm boring. Sorry.

Paul,
who loves the sound of his own typing.


Date: Sat, 20 Apr 1996 04:00:49 -0700
From: einexile the meek (einexile@NETCOM.COM)
Subject: Re: v23 grossout cover art


On Fri, 19 Apr 1996, naranjas en la cabeza wrote:

> The best description I've heard of it is "a pile of ossified snot"...

The object depicted or the artwork itself? :)

> The image on the CD itself is definitely entrails, though. Have a look at
> some tripe the next time you're in a supermarket.
>
> Larry

Taking a look at the picture for the first time in several months,
several things occur to me:

1. It is a negative image.

2. The colors have been tweaked.

3. There is a flaw in the picture.

4. It's not really very beautiful after all.

The thing at bottom right appears to be a bone. I bet you most of the
object is red, with white lines through it where you now see black.
Someone should take a picture of this thing and fuck around with it a
little.

Also, I've never been able to tell exactly which direction was up until
just now. Look at the shadow above the uppermost point of the thing at
the left edge of the frame. This thing is definitely meat and entrails, a
lot of red and fleshy gross shit, and I'll just bet you it is the
stripped pellvis of a cow or some similar animal, with the legs severed
and laying on its back or something.

Fascinating topic. What's that about The Designers Republic again??


 e

Date: Sat, 20 Apr 1996 04:08:56 -0700
From: einexile the meek (einexile@NETCOM.COM)
Subject: Re: v23 - ug


On Fri, 19 Apr 1996, Joseph Burns wrote:

> > What you have just written here is as meaningless as the artwork you are
> > defending. No more of this "my perception your perception" goofiness,
> > please. I thought the whole point of 4AD in the first place was to make
> > classy and beautiful art without sinking into the relativist quagmire of
> > hippie pomo culture.
>
> as usual e, your reactionary stance

This is a reactionary stance?

> This
> is a basic tenent of modernism, and not a 'relativist quagmire of hippie
> pomo culture.'

Okay, explain the difference please.

> A beautiful photo of rat fetuses is STILL a beautiful
> photo,

But you were arguing that it was beautiful. It is beautiful *because* it
is beautiful? Maybe. Is it beautiful because you get off on it? Great. My
point was that no one had ever read anything like what you had posted,
and it was really refreshing to see something so open minded.

> ...  wishing there was a way to filekill anything with false claims of
> 'meekness'

* ^From: .*einexile
/dev/null

Knock yourself out.


 e


Date: Sat, 20 Apr 1996 15:02:37 -0400
From: Chris (lccapsn@IOE.AC.UK)
Subject: Re: Even more childcatcher


On Fri, 19 Apr 1996 18:25:01 -0700 "Scott, Mari & Brian" wrote:

>If anyone is interested Lush took Childcatcher from a Blonde song
>called "Sunday Girl". They sound exactly the same. How do I know this?
>Miki admited to it on the "Black Session" boot.

...which Lush did a cover version of at the Dublin Castle in December 1994

Another useless Lush fact from...



Date: Sat, 20 Apr 1996 09:23:09 +0000
From: Jason Wintz (moran@HAL-PC.ORG)
Subject: Re: pale saints lyrics


> >greetings. i am on a quest for pale saints lyric.
> >esp. the comforts of madness. esp a deep sleep/a deeper sleep...
> >it matters not. anyone know anything!? thanks in advance.
>
> andyx has them somewhere (as do i, but not here).  i'm still (yes, i know
> it's been months) occasionally working on changes, etc., and really will
> send them out to those that want them, but don't hold your breath.
> if you don't get them from andy in the next few days, email me and i'll trek
> over to the computer lab to send them.
>
Hey BiZ, can you send me some as well?

thanks

moran@hal-pc.org

Date: Sat, 20 Apr 1996 09:57:40 -0500
From: "Luis B. Abcede" (st5sd@JETSON.UH.EDU)
Subject: For those interested in Pale Saints lyrics


Hi

Sorry to clutter bandwith ... but just to keep everyone happy ... here's
what I got from Andrew and BiZ a while back

PALESTS.TXT

barging into the presence of god


sight of you


the sight of you
the sight of you
makes me feel blue
makes me feel blue
the things you said
the things you said
make me feel bad
my heart is sad


i think of him
i think of him
soaked all in red
i wish him dead
you say that he
you say that he's
nothing like me
but how can that be?


what can i do?
what can i say?
the world was large
and i felt very small
what's gonna happen?
how will i know
when things are back
the way they used to be before?


the sight of you
the sight of you
makes me feel blue
i feel so blue
the things you said
the things you said
make me feel bad
my heart is sad


she rides the waves


how many times
have i seen that look upon your face?
i need to know exactly
where it is you go
then i watch it wash all over you
then i let it rush all over me


how many times
will you come and go before you stay?
crawl out of your hole
and tell me what it's like in there
then i watch it wash all over you
then i let it rush all over me


then i watch it wash all over you
then i let it rush all over me
then i watch it wash all over you
then i let it rush all over me


mother might


i'm so sorry
and why should i
it's just the way that the world
cares for itself


insinuations
cover our faces
fear rushing into our lives
into our lives


it's just mother
keeping us under
always just one step behind
holding your hand


the comforts of madness


way the world is


this is the way
the way it has to be
this is the way
the way we all will go


slaving away for a bit of peace
watching our money as it rolls on in


time will get you in the end
and take away the things
the things you thought you had
time will take away your friends
and leave you all alone
alone until the end


this is the way
the way it has to be
and this is the way
the way we all will go


you tear the world in two


tear the world in two
and choose a half
but(?) look inside you
you are what you are
i've seen it through
and you will too
i can tell that you
feel these things too


???
and teach yourself to walk
into the hole
exploding in your heart
i've seen it through
and you will too
i can tell that you
feel these things too


i've seen it through
and you will too
i can tell that you
feel these things too
you tear the world in two
i'll destroy you


sea of sound


your body's cold
you're on the bed
i'm the only one
who knows you're there
i'm reeling in that silver line
the cord that brings you back in time
reality obscures my view
the pain of wanting to
when am i going to be a part of you?


your eyes are closed
they're in your hair
but i'll make it
just say you care
when every one has had their fill
you're holding on although you're ill
i watch the ripples in the storm
until i have the brew
and then i throw them evening(?)
over you


how can you want to stay like this?
the choice is ignorance or bliss
we'll go together don't be scared
it won't take long we'll soon be there
when we arrive just look around
there's so much to be found
we'll sail away upon a sea of sound


true coming dream


are you still here
??? rushes on
and you think it's wrong
they're only in your head
things you create
just the empty shells
of ??? yesterdays


so you never breathe a word
selfish (?) with yourself
until you break in two
??? all you want to do
until your dreams come true


drugged sensibilities
sketches i have made
???
???
???
??? all you want to do
until your dreams come true


little hammer


pounding away in the back of my head
until i've almost lost myself
and those red and black patterns
in which nothing happens
have made me sleep


a beautiful voice is a nail
being pulled out of wood
carry on little hammer
you were always my favourite toy


when the world's dead to me
in my soft ??? fortunate cushion of pins(?)
is a soldier
slicing thin(?) through(?) thin(?)
the unfortunate truth sneaking in


insubstantial


come hither
say these words
either way
i will ???
hide(?) yourself
don't believe in those who lead(?)


trade(?) the way
underneath
you must see
they decieve
oddity(?)
don't break the spell
don't catch(?) yourself(?)


banks of fire(??)
heads(?) collide


a deep sleep for steven


i can recognize the lies(?)
where everything is fine
and everything is mine (?)


i can see what's in your head
the things you haven't said
are hiding in your head


watch the planets change their shape
it's keeping me awake
it's more than i can take


language of flowers


see me a snapshot
narrating my previous life
and a mountain of other lies
numbers and letters and letters
surfacing from a sea of
treacle blackened stone(?)
and carrying me back home
i hear the language of flowers
and now i don't hear anything else


voices from nowhere seducing me
to all the lyrics(?) of the world
the balance has been disturbed
time stumbles drunkenly
wild lives are frozen(?)
until they're born again
ripening in the sun
i hear the language of flowers
and now i don't hear anything else


i wasn't cut out for this
but my heart was(?)
i wasn't cut out for this


fell from the sun


you fell from my sun
now you're feeling so cold
never thought morning
could feel so alone
they say you've got to live by doing(?)
she says she felt so alone(?)
they say every day is ???
like the sun(?)


staring at cloud
and your rains falling down
clouds in the sky
and the hills turn around
they say every day you're living
should feel as though it were the last
they say hold on to that feeling
???


you fell from my sun
now you're feeling so cold
never though morning
could feel so alone
they say you've got to live by doing
she felt ???
they say you've got to keep on trying
for the sun
for the sun


sight of you


see above


time thief


thought we could breathe easily
it's not often
instead it descends
to sew our dreams
and mail us into ???


chase it cos it's dangerous on foot
you know i'd help you if i wanted to

try to fill a hole inside this pain
lives inside this house
lives in both of us
??? realise


frightened of the world pretend that
it's your favourite daddy shirt
wear it we're in outer space
the money's falling through the wall again
lives inside this house
lives in both of us
??? realise


round and round and round we go
the words are breezing and there's always
one more clue to comprehend
??? jump into your head
lives inside this house
lives in both of us
??? realise


half life


half-life, remembered


it's eating you away and some will never know it's taste


biting off more than you can chew again
you're just a child
and all you know is
that it's sweetness brings you
close to tears
each time you can't resist
and some will never know it's taste


you're flying high
oblivious to what it does
it's eating you away
and it moves much faster
than you can view
it's eating you away
and some will never know it's taste


some will never know it's taste


baby maker


breaking through
into the waters heat
it won't be long
it's impossible to understand
there's no way of knowing
and no way out


take a breath
and tear it out (up?)
it's not enough
as the sky gets nearer
so does time
you'll never know
what you left behind
the only way is down


as the sky gets nearer
so does time
you'll never know
what you left behind
the only way is down


two sick sisters


pouring through the years
with(?) invisibility
jackals cower with their light
rotting down ??? sight
golden moments all to rare
loose their feeling and their faith
turning courage into fear
decomposing as you stare
spin around there's no one there


???ing into dust
pulling me under-
ground into a place
where there is no air to breathe
pressing down (deep?) into the mire
and it's suffocating thought


gaining ground
towering over
chasing me
through my mind
drowning me
again


a revelation


black limousine
wait till the feeling
explains what it means
cosy inside
how does it feel when you think that it's real
your minds taking you out for a ride


nobody's home
drunk on a bottle of ???
leave me alone
consuming the town
riding around
with your head in your hands
soon you'll be chasing yourself


look at yourself
sweating and smelling
like somebody else
everything fits
something or nothing ???
solution ???


flesh balloons


hunted


never alone
sticks fast to him
as shadows loom (?)
it tracks him everywhere he goes


surgeon's hands
the only way
to free him from
the one he begs will disappear


feels free in his sleep (???)
but there no such peace
waits for him to awake
laughs in his face
falls to his embrace


never alone
says to him
shadows long
shadows everywhere
false freedom is sleep (???)
but there's no such peace
waits for him to wake
laughs in his face
falls to him
false freedom is sleep (???)
but there no such peace
waits for him to awake
laughs in his face
falls to his embrace


false freedom is sleep (???)
but there's no such peace
waits for him to wake
laughs in his face
falls to him
false freedom is sleep (???)
but there no such peace
waits for him to awake
laughs in his face
falls to his embrace


porpoise


instrumental


kinky love


kinky love
kinky i'm mad about you
kinky love
i need you so bad
i need you kinky love
kinky you're all that i've been thinking of
kinky take me inside and let the honey slide
i need you kinky love


good to me
kinky do all the things you should to me
wake up i'm nervous
sleep inside of me
open your gates and let the river free
oh kinky take me inside and let the honey slide
i need you kinky love


late at night
in my bed as i lie here
somewhere in limbo land
half awake half asleep
halfway somewhere else
i know i should be sleeping
but how can i close my eyes
when you know i understand you're mad(?)
and you've got to have your kinky love


i know i should be sleeping
but how can i close my eyes
when you know i understand you're mad(?)
and you've got to have your kinky love
kinky i'm mad about you
kinky love i need you so bad
i need you kinky love
kinky you're all that i've been thinking of
kinky take me inside
and let the honey slide
i need you kinky love
oh kinky take me inside
and let the honey slide
i need you kinky love


hair shoes (demo)


see below


in ribbons


throwing back the apple


don't fall too deep
don't try and sleep
beneath the ? that ?
it's coming through
taking over you
it's coming through
pouring into you


it hurts so much
but you're close enough
to step outside again
it's coming through
taking over you
it's coming through
pouring into you
it's coming through
taking over you


ordeal


dreaming too long
wake up
hear ? ocean roaring ??? feeling
making fishes mouths inside your skin


now your senses
grow impatiently
feel the light is landing
on the surface of your being
like you're dragging an old dress along a floor


thread of light


hey percy
the beauty hidden in the pain
i smile and i bleed
body rain


between the scenes
you should hold someone
every piece is time
you've undone


pretty boy
everything lost and still a sound
of mother's arms and soul
can be found


between the scenes
you should hold someone


between the scenes
you should hold someone
every piece is time
you've undone


shell


climb inside your mind and hide
throw the keys away
no one could ever know
the pain
you're going through
but i'll remember you
yes i'll remember
run and hide in your mind
run and hide don't


don't eat
don't move
you don't sleep
empty where you lie
gets farther every time
be still
you're just a shell
you do not exist the way you used to
run and hide in your mind
run and hide don't ???
learn to cry
learn to fly


there is no day


come back to me
come back to me
there is no day

until you come
back to me


hair shoes


how long can i contain
this wretched that no cure can tame
feel it coursing through me still
never knew that i could so ill


your wings are over me
if only i'd the strength
to try
to hide
watch me fall apart
but leave me with my heart, my heart, my heart


babymaker


see above


liquid


silver head
what makes you
sick inside
she stood by you
seasons hand
holds your dream
???
ways you can be
all meanings can frame
the pattern of your fins


?
swims and lights
??? truth
all other wise
golden things
twists and writhes
??? fish
caught in your eyes
all meanings can frame
the patterns of your fins


neverending night


i sit and wait
for birth and being
from day to night
back to beginning
i see
i see


but now
i look
you're disappearing
the ? that
falls is deafening
can't sleep
can't sleep


featherframe


losing everything
the frame on which you hang
the constant (???)
the source of pain


losing everything
that she should bring


waking up the ???
held inside the


moving space is left to take your place
of colours against the grain
feel glass eyes
waking up the ???
held inside the


he says waking up the ???


a thousand stars burst open


no longer cradled
in gravity's memory
still in ??? lessness
spinning in torment ???
into the lightning white


throwing back the apple


throwing back the apple


see above


blue flower


waiting for a sign from you
waiting for the signal to change
have you forgotten what your love can do?
is this the end?


walking through the city
your boots are high heeled
and are shining bright
the sun was sparkling on the shaft of your knife
glowering in the morning rain
dying in my hands
was it all in vain?
superstar in your own private movie
i wanted just a minor part
but i'm no fool
i know you're cool
i never really wanted your heart


keeper of the key
nothing seems to bring you down
it's not that cool when i'm around
flower in the morning rain
dying in my hands
was it all in vain?
superstar in your own private movie
i wanted just a minor part
but i'm no fool
i know you're cool
i never really wanted your heart


half life remembered


see above


reflections on a watery world


instrumental


fine friend


fine friend


i'm tired of too much of this
and this is wearing me thin
there are too many hours
and too many ways to fill them in
fine friend you're a fine friend
when will i see
fine friend you're a fine friend
you've been an anchor for me?


i'm tired of holding my breath
there's too much that's been left to say
but i know tomorrow the smile on your face
will smooth these thoughts away
fine friend you're a fine friend
when will i see
fine friend you're a fine friend
you've been an anchor for me?


i'll never walk into your arms


special present


thought you'd given me a special present
a thing to have and hold
and keep forever
when the smoke had cleared
the thing you left there
wasn't a gift at all
you tricked me
it stripped me bare
it stripped me bare


painted(?) all your rooms
with laughs and fanfare
you stealed yourself away
to cover the reasons
once the latch came off
your vision escaped you
you faltered and you failed
it gripped you
it tripped you up again
you fell again


take it with you
take it back and let me breathe
i push your sickness away from me
it feels my senses built a wall that i can't see
i will your curse away from me


rub your insides raw
reaching for insight
arrest your every pore
and charge it with treason
oh let the ill infect
your best intentions
a legacy of sores to bleed forever
to bleed forever
to bleed forever
to bleed forever
they'll bleed forever


marimba


instrumental


reprise


reprise of fine friend (see above)


slow buildings


king fade


instrumental


angel (will you be my)


i'm teaching myself
not to need
have you
tried not to
not to need?


can i see you
or will i
still grapple at the same
sky?
can i touch you,
will you sing?
will you be my angel (with strings)?


one blue hill


time to swim and
time to see
minds (mimes mines) the yellow ring
upon the sea
find me some more time and i'll
sing for my tea


do you still know him?
do you still know?


time's a whim and
time is free
find a yellow ring
upon a sea
mindful of this time it's
just a breeze


do you still know him?
do you still know?


henry


this is much too nice
pressing now inside
this is much too light
??? puts fear to bed
the seeds left in her head
don't let me forget ???


this is much too nice
pressing now inside
this is much too light
??? puts fear to bed
the seeds left in her head
don't let me forget???


under your nose


paint dries and feelings die
what you wanted was always
under your nose
your face lies and
changes your size (sighs)
i wanted the whole picture
but you never wished to
what you wanted was always
under your nose


what you wanted...
what you wanted...


erected my own fences
but you never sensed this
what you wanted was always
under your nose


song of solomon


my name is dead
my thoughts are dead
my name is dead
my thoughts are dead
i tried to find
a goldmine (doorway?) but
it was hidden in the song (sand?)
of solomon


i was buried in the earth
i was rooted in the ground
buried in the song of solomon


fine friend


see above


gesture of a fear


it might have been so
hard
but then again it's only
a gesture of a fear
it's only
a gesture of a fear
it's only


this night has seen no
stars
i'm left with your old words
a gesture of a fear
it's only
a gesture of a fear
it's only


always i


wanted to pin things down
but not fake it
rather not hear what i
plan to say
i've got to say
it's not easy to keep up the invention
don't wanna hide what i have to feel
i've got to feel
i, my i, always i


wanted to see this through
can i face it?
now i'm too tired to hide
it's easy to give up the attentions
of lucid time though i'd
learn to see
it had to be
i, my i, always i


suggestion


my strength is sapped
and i'm closing my eyes
nothing to wrestle with
but my old times
i'm closing my eyes
it's my place and
think i can make it on my own
nothing to wrestle with
but my old times
think i can make it on my own


it's too pained (plain?)
it's too strained (?)
it won't be dressed up
held me for being this way when i've given up


you could comfort and frustrate me
the holes were already there
always to wrestle with in my old mind
i wanted to close my mind


it's too pained (late?)
it's too strained (straight?)
it won't be dressed up
held me for being this way when i've given up


platypi


children break (7" flexi on panic records)


a veteran terrorist
before the age of six
patterns are formed
then reinforced
let's go outside and play dead
patterns are formed
then reinforced
let's go outside and play dead
why do children break toys?
tiny minds have no thoughts


from these deadly hands
shoot seeds of death
come inside me and wash your hands
these dreams will make us grow strong
come inside me and wash your hands
these dreams will make us grow strong
why do children break toys?
tiny minds have no thoughts


their wounds are well concealed
inside their tiny minds
look at their scars
don't get too close
have you listened to what i've said?
look at their scars
don't get too close
have you listened to what i've said?
why do children break toys?
you boys, you boys, you boys, you boys


you'll never, ever wake up again
you'll never, ever wake up again


colours and shapes (some compilation tape / mrs. dolphin)


tell what you're thinking of
and what is on your mind
i'm sorry for the way i made you feel
and when you've made your mind up
come and tell me i was wrong
and i'll say the words i know you want to hear


do i need you?
i can't say
coloured shapes get in my way
and i can't decide if we were meant to be


tell what you're dreaming of
and what is on your mind
i'm sorry for the way i made you feel
and when you've made your mind up
come and tell me i was wrong
and i'll say the words i know you want to hear


do i need you?
i can't say
coloured shapes get in my way
and i can't decide if we were meant to be


a deeper sleep for steven (gigantic two / mrs. dolphin)


see above


the colour of the sky (half life 12" / mrs. dolphin)


it was always you


i can't recall the colour of the sky
but that's not important
we were walking down the hill
when i noticed that you were limping
so i bent down to examine your paw
i can see something
a speck of white in your pad
i've got it in between my fingernails
it's growing
i'm pulling it
it's growing
why doesn't it hurt?
why doesn't it hurt?
hurt?
it came out cleanly
there was no mess
a gigantic anchor made out of bone
we left it at the side of the pavement and walked on


i could hear you laughing


one blue hill (demo) (thirteen year itch compilation)


see above


Date: Sat, 20 Apr 1996 18:24:51 +0200
From: Lars Magne Ingebrigtsen (lars@EYESORE.NO)
Subject: Re: The Aphex Twin


Paul Spirito  writes:

> God, I'm boring. Sorry.

No, you're not.  I found your article very interesting.

--
  "Yes.  The journey through the human heart
     would have to wait until some other time."


Date: Sat, 20 Apr 1996 20:28:04 +0200
From: Frank Brinkhuis (frankbri@PI.NET)
Subject: Mojave 'Mercy' single


Is there anyone who knows more about that new Mojave 3 'Mercy' single that
is supposed to be released this summer?
The information I have says that they recorded a new version of 'Mercy',
including a 21 piece string section, and that it will be released worldwide
as a single, probably in June, and as a radio-promo in the US (to support
the 'Shaving The Pavement' tour).

Frank


+++++++++++++++++++
Frank Brinkhuis
frankbri@pop.pi.net
+++++++++++++++++++

Date: Sat, 20 Apr 1996 12:04:12 -0700
From: Sex Dwarf! (beswick@chaph.usc.edu)
Subject: Re: Childcatcher - original version


On Thu, 18 Apr 1996, Luis B. Abcede wrote:

> At 08:56 AM 4/18/96 +0100, you wrote:
> >I'm (almost - say about 70%) sure that Lush's "Childcatcher" was
> >released (or was INTENDED to be released) in a form before
> >"Lovelife".  I actually WAS told about this, but unfortunately I was
> >drunk at the time, and don't  remember...
> >
>
Childcatcher was on the All Virgos Are Mad cd.

Date: Sat, 20 Apr 1996 11:57:04 -0700
From: Sex Dwarf! (beswick@chaph.usc.edu)
Subject: Re: gripe about the people at 4AD US


> compared to the area Best Buy's.  I think that this is a real shame, as the
> band wanted to pull this off (and I haven't given up as I'm working through
> other channels right now), this would have given them additional exposure,

Well, it sounds to me like the band showed interest.  Doesn't sound like
they were DYING to get in your store.  If they want to that bad, they'll
probably show up with guitars and you can let them in.

But stop to think... this is a national MULTI-CITY tour.  The bands are
doing in-stores, signings, interviews, college radio appearances AS WELL
AS performing nearly every night and trying to get to the next city in a
day or so.

As for exposure, I think touring with a band with the caliber of Lush and
being affiliated with a label with the caliber of 4AD and containing
ex-members of Slowdive, they're doing pretty well.

I don't think your in-store would make or break their recording careers.

And why SHOULDN'T you go through the label to set up an in-store?  Maybe
they had the band scheduled for something else that day.  Maybe the band
forgot they'll be doing smack at that time... who knows?

Don't sweat it anyway.  Mojave is the least impressive of the three
bands, live, anyway.  The only fun was watching Rachel tell off the
dumb-asses who kept yelling 'Play Slowdive!!!'

=)

Buck up, camper!!!

Strick9

Date: Sat, 20 Apr 1996 12:14:18 -0700
From: Sex Dwarf! (beswick@chaph.usc.edu)
Subject: Re: STP helL.A./v23


>=20
> Hmm, I never thought a shit could be 'art'. I suppose you=B4re an art cri=
tic.
>                                            cool symbol!  ^


I once saw this supposedly famous German 'art' film at a party and it=20
included a 10-15 segment showing a very big loooooooonnnnng turd coming=20
out of some bald guys butt.   *shrug*

Strick9

- - - - - - - - - -                                       - - - - - - - - -=
 -

All is fair in love they say           | =09I could close my eyes and be
=09=09=09Liars! Liars!  |     Someplace better
I found only easily                    |         Fairy tales and fantasy
=09=09=09Love is cruel  |     That's the world . . .   for me.

 - - - - - - - - -                                         - - - - - - - - =
-=20
                                           beswick@scf.usc.edu

Date: Sat, 20 Apr 1996 11:48:07 -0700
From: Sex Dwarf! (beswick@chaph.usc.edu)
Subject: Re: v23 - ugh!


>
> > Scheer's "Wish You Were Dead" (BAD 6005) is out now, and it is AWFUL
> > HEAVY METAL WANKING.

Hmmm...heavy metal wanking?  Interesting choice of words.  I actually
think Wish You Were Dead is one of their best songs.

>
>  Thank you, I think, for doing your part to pull me back from the
> brink.

Nooooo.... come back to the brink!  After a few listens, I think the
album is great!  Goodbye, Babysize, Wish You Were Dead, Shea and Howling
Boy and epic!

> > Cover is a load of embryos
> > (sheep?), and is the most disgusting thing I have seen

They're pig fetuses, actually.  It's a photograph (not, by the way, from
anyone at v23).  The photographer and name of the photograph are on the
inside.

> the poor things on the cover are indeed rats. Are we about to plunge into

Rats?  Oh... thought they were piggies... oink

>
> I cannot tell what the cover of the albumis thanks to a big fat sticker
> which informs us of all the hits Scheer have had.

Actually, the sticker, which I think is pretty cool, just lists the
tracks of the album, not hits.

 Am I mistaken or is
> this thing on the cover in fact a rotten penis wrapped in some sort of
> wire or twine? Fucking sick if you sk me, whatever the hell it is.

The cover and all the photos in the book are some kind of scientific shit
of like sutures and guts and stuff like that.  But I don't think it's a
penis.  Looks more like a stitched up vagina to me.


> I'm going to go out tomorrow and have all my old Iron Maiden posters
> matted and framed.

Damn cool.


Strick9


Date: Sat, 20 Apr 1996 12:22:34 -0700
From: Sex Dwarf! (beswick@chaph.usc.edu)
Subject: In a cow's eye!!


Speaking of artwork and the Pixies, I love the work on the inside of
Doolittle.  The artistic 'interpretations' of the songs are brilliant.  I
really wish they'd do that more.  I'd love to see someone draw 'that
cloud stomps around my house'!

Strick9

- - - - - - - - - -                                       - - - - - - - - - -

All is fair in love they say           |        I could close my eyes and be
                        Liars! Liars!  |     Someplace better
I found only easily                    |         Fairy tales and fantasy
                        Love is cruel  |     That's the world . . .   for me.

 - - - - - - - - -                                         - - - - - - - - -
                                           beswick@scf.usc.edu

Date: Sat, 20 Apr 1996 15:03:22 -0500
From: HORTMAN_M@HCCS.CC.TX.US
Subject: Re: STP helL.A./v23


Speaking of turds and such; Pink Flamingoes was sort an "art" film, eh?

I've never quite felt the same way about that song since then.  What's the name?
You know "mah-mah-mah-mah-mah-mah-mah-mah um mah-mah mah-mah um-mah-mah"

Course it also ruined "how much is that doggy in the window?" too.

One of the av guys that work in our department is in a heavy metal band and he
took this picture of one of his band-members turds in a toliet.  Geeez, I have
*NEVER* seen a turd that long before.  It just curled around and around and
around...and... Well, i guess you get the picture.

And how about pathology books?  Ever wander over to the pathology books in the
library?  Ohhh, you don't know what you're missing.  My favorite was this one
bald man who stripped naked, chained himself to his volkswagon and locked the
wheels so it would go in a circle; but somehow the chain got wrapped around the
axle and so the volkswagon rolled over and over and over this guy for several
hours until some hikers came across him.  Talk about your vivid imagery!

..and those trapeezes people hook up to their beds!  Its a crazy world out there


marvyn


Date: Sat, 20 Apr 1996 23:28:15 PDT
From: naor (naor_y@NETVISION.NET.IL)
Subject: v23 art works


I am somewhat reluctant to add to this
already too long discussion, but I feel
someone has to point out that not all of
v23 work is composed of, shall we say,
the less familiar side of farmyard animals.
(the kendra smith album) was done by vaghan oliver.
it is mainly photos of trees, old musical instruments,
bizarre flying machines, statuettes and a donkey.
alive and well I should add.
the art reflects perfectly the mood and texture
of the music. (sort of modern/medieval at the same time)
if nothing else, this comes to prove that v23 is not
completely devoted to gore.
and that's my two cents
naor


Date: Sat, 20 Apr 1996 16:44:17 -0500
From: the silky smooth sounds of heath byers (wbyers@INDIANA.EDU)
Subject: toopure website thing


has anyone heard anything from that little laika/toopure contest
thing that they had on the toopure website? i sure as heck havent,
and i think i answered enough questions correctly? hmmm....

tix are still available for lush's StP @ st louis @ mississippi nights
as well! this is a great little venue and should be wonderful...
tix are 10 bucks in advance call 314-421-3853 to talk to miss nights
or well- nevermind i cant find the ticket company's fone numba, so call
mississippi nights and they can give it to you....
be seeing you there! (and cinci and chicago! pshew!)

heath
wbyers@falstaff.ucs.indiana.edu


Date: Sat, 20 Apr 1996 18:48:02 -0500
From: Rob (robw@VISUALLINK.COM)
Subject: Re: misery loves (the record) company


>Hmm, I see a problem here.  Where's all the "happy" music??!!  Ivo needs
>to grow the fuck up and stop being so fashionably depressed.  There's
>more pure joy in the song "Make-Out Club" that in all the 1996 4AD
>releases.  Lush is too angry, scheer is schit, mojave is too murky.
>They should rename it the "Slashing the Wrist Veins" tour.  I used to be
>such a 4AD junkie.  Now I wonder if I'll ever buy a 4AD product again.

I'm not going to comment one way or another on 4AD.  Suffice it to say, I
like some of their stuff, but I'm not a 4AD junkie...never have been.
But, I don't think Ivo needs to "grow up" or anything else.  It's his
label and he can release whatever he wants.  Maybe it is you who has
changed and not 4AD?  Maybe you're no longer a 4AD junkies because the
music doesn't mean the same thing it once did?  I used to be a hard core
Bauhaus/Siouxsie/Cure, etc. fan.  Today I dust some of those discs off
from time to time, but they just don't mean much to me.  They're stuck in
a different time, a time when my views, my attitude, my feelings,
everything was different.

Today some of my favorites are Saint Etienne, Massive Attack, Tricky,
Black Grape, Cowboy Junkies (perhaps a little random, but they are
wonderful!), Deee Lite, Orbital, Tuscadero, the Supersuckers (another
random one...but you gotta love that white trash rock!), and, of course,
everyone on Bedazzled. :-)  I just picked up a single by DJ Shadow this
afternoon.  It's great!  I rarely listen to the Cocteaus nowadays...or
any other 4AD band for that matter.  That doesn't mean I don't care about
the tunes...or that they weren't important to me at some point, though.

I think it's time YOU (and a lot of other people on this list!) stopped
worrying about 4AD the label and started concerning yourself with buying
what you like.  After all, who cares what label it's on?  The important
thing is that you like, and identify with, the music.  If 4AD doesn't
have the happy tunes you're looking for, look elsewhere.  I did.

Just my two cents...

-Rob Wyatt
robw@visuallink.com
rob@bedazzled.com


Date: Sat, 20 Apr 1996 19:52:03 -0400
From: Lesley Barnett (barnettl@DICKINSON.EDU)
Subject: Re: gripe about the people at 4AD US


On Sat, 20 Apr 1996, Sex Dwarf! wrote:

> Well, it sounds to me like the band showed interest.  Doesn't sound like
> they were DYING to get in your store.  If they want to that bad, they'll
> probably show up with guitars and you can let them in.
>
> And why SHOULDN'T you go through the label to set up an in-store?  Maybe
> they had the band scheduled for something else that day.  Maybe the band
> forgot they'll be doing smack at that time... who knows?
>
actually, sex dwarf! was right.  even if rachel had called you directly
to set up this in-store, if their manager has already set someting else
up (which was the case) they have to renig.

and please stop slagging all of the people at 4ad-us.  just because you
talked to beverly (who was most likely in a poor mood) and/ or rob (who
was leaving the company) doesn't mean that everyone who works at the
label is an awful person.

everyone that i've talked to at the label has been friendly and helpful.
isn't it possible that you caught them on a bad day.  also, since it is a
huge multi-sity tour, can you imagine all of the radio stations, record
stores, etc. that are calling 4ad daily trying to get interviews or
in-stores?  i would get "pissy" too if i had to deal with people asking
for favours everyday and expecting preferencial treatment, like everyone
else.
                                        just a few thoughts,
                                                lesley


Date: Sat, 20 Apr 1996 17:52:32 -0700
From: David Mccallum (mccallum@EFN.ORG)
Subject: Re: Misery loves (the record) company.


On Sat, 20 Apr 1996, Rob wrote:

> I rarely listen to the Cocteaus nowadays...or
> any other 4AD band for that matter.  That doesn't mean I don't care about
> the tunes...or that they weren't important to me at some point, though.

        This beautifully sums up the whole thing really.  It's the whole
Smith's attitude.  To many, 4AD is/was very much an angst thing and many
just outgrow it; learning that there is much more to life than sitting on the
edge of one's bed worrying about the moral ramifications of wearing leather
shoes.  Some are Morrissey, reading Herman Melville, duetting with Siouxsie
and fantasizing about boxers, and others are Johnny Marr, shaking their
groove thing with Electronic and partying in New Orleans with Matt Johnson.
        That fact doesn't weaken the power of the music at all.  I look
back and see -through my music collection- what I was going through and
I'm glad I went through it and I'm glad the Cure, 4AD, Siouxsie and the
Smiths were there.
        So if 4AD is still, as a label, promoting and releasing "angst"
albums I think it is great.  But I don't really listen to their stuff
anymore, either.  I don't really worry about the fact I'm not excited
about 4AD and Ivo doesn't either.  And, personally, my "angst" has
just stepped on in other directions -to Mazzy Star, Luna, back to David
Bowie/Bryan Ferry/David Sylvian, back even further to Nick Drake and Chet
Baker.  And I've developed a great appreciation for the song that makes
you smile - really smile - like Massive Attack, Tricky, Prince, Underworld
and Orbital, St. Etienne......
        Enough already from me also.......
        David.
__________________________________________________________________________
David McCallum                                            mccallum@efn.org
                http://www.efn.org/~mccallum/arkane.html
               -a shrimpy shrine to the music of a.r.kane


Date: Sat, 20 Apr 1996 19:16:15 -0700
From: esp raincloud (kelli@NETCOM.COM)
Subject: Re: gripe about the people at 4AD US


> in-stores?  i would get "pissy" too if i had to deal with people asking
> for favours everyday and expecting preferencial treatment, like everyone
> else.

  but, isn't that their job? to deal with the public and handle all of
  the supposed favour-asking?

  i think the melrose office needs some sort of orientation or class
  on good public relations. the uk office seems to be in much better
  spirits and gives the appearance of being much more approachable and
  helpful...

  k


Date: Sat, 20 Apr 1996 20:09:53 -0700
From: aka Wavequeen (uthelene@IX.NETCOM.COM)
Subject: Re: volume series. is it difficult to...


You wrote:
>
>concerning the volume series, that most times has more than a lion's
share of
>thislisty contributions, I am wondering how rare the early
installments are
>to find.
>
>this past weekend I saw not one, but two copies of vol. 1 and a copy
of vol.
>4.
>Is this a find?
>
>e-mail me if you can assist.
>
>thanks.
>
>jason
>
>srilank@aol.com
>
those particular volumes are not so rare...euthelene


Date: Sat, 20 Apr 1996 21:34:24 -0800
From: Jens Alfke (jens@MOOSEYARD.COM)
Subject: Re: The Aphex Twin


Paul Spirito writes:
>Ambient often breaks the rules by bringing sounds that would normally
>classified as "background" or "noise" to the fore (hence the name).

I think of it more as that the music isn't supposed to have a foreground
at all; subtle distinction perhaps.

>...rather than spending your mental energy parsing a
>logical argument, you're "looking around" at the scenery. It's the
>difference between standing in a field talking to someone, and just
>standing in a field. Either way the brain tries to perceive the
>object, but the mental capacities invoked as useful differ.

It's similar to what happens when you walk around with a camera for a few
hours looking for interesting things to photograph (which I did a lot way
back during my senior year in high school.) You soon find out just how
compositionally interesting something like a loop of garden hose on a
concrete slab can be -- my photograph of that was the best thing my
photography teacher had seen all year. A musical equivalent of this is
John Cage's famous 4'33" of silence during which the audience noticies
all the background sounds going on in the concert hall. Ambient music, if
you focus on it and put this forgroundless sound in the foreground, can
put you into weird trance-like states.

>God, I'm boring. Sorry.

Not at all. Why is it that the most interesting postings often complain
about their length and/or boringness, while the truly boring and/or
obnoxious ones never do?

currently. Hitting Cmd-D is aggravating my tendinitis.

__________                                            __________________
Jens Alfke                                            jens@mooseyard.com
            Some outside and some indoors--
            Oh my oh my oh dinosaurs            ________________________
                                                http://www.mooseyard.com


erikas@evo.org, last updated by Eyesore Automation on 4-20-1996