Deadman Bed

A musician, seeking words.

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Shut up, I'm constructing a memory palace!

Adam Buxton, podcast Ep. 7. - Scroobius Pip

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His death was no different from his life - a work of art. He made Blackstar for us, his parting gift. I knew for a year this was the way it would be. I wasn't, however, prepared for it. He was an extraordinary man, full of love and life. He will always be with us.

Tony Visconti - http://www.bbc.co.uk/news/entertainment-arts-35278872

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Assume the cow is a sphere

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Doc Hollcroft’s Cure-All

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You can't keep the mind still, so some hideous intellectual maggot's going to crawl out of there

Ted Milton of Blurt, interviewed by Daniel Spicer for The Wire issue 379 (September 2015) p.35 col.3 para.4

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Being a poet was the blueprint for the most outrageous narcissism on offer

Ted Milton of Blurt, interviewed by Daniel Spicer for The Wire issue 379 (September 2015) p.30 col.2 para.1

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Seven wines by the glass

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When underground music is brought into the nonplace field of Red Bull Music Academy's global operation, the networks that spawned something distinctive in the first place are cut off, and risk withering on the vine.

Inside Red Bull Music Academy by Derek Walmsley, The Wire 372, February 2015

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The internet would have been the wet dream of the Stasi

Peter Runge of Optimal Media “Vinyl’s difficult comeback” http://www.theguardian.com/music/2015/jan/07/-sp-vinyls-difficult-comeback

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Has the day invaded the night, or has the night invaded the day?

Louise Bourgeois (1911-2010) From “What is the shape of this problem?”; 1999

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You gotta pay your dues, before you pay the rent

Pavement "Range Life" (from "Crooked Rain, Crooked Rain" - Matador/Big Cat, 1994)

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The stakes are so low that we eat off the floor That’s what we got long tongues for.

Les Savy Fav “Appetites” (from “Root for Ruin” - Frenchkiss Records, 2010)

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I think I went [to the Conservatorio] to find out I wanted to do something different. It's a good place to discover conceptual art, because it's not supposed to happen there. I'm still using my classical training even - especially - when I'm not directly using it. It's like a silent, unoccupied room, but it's still there.

Alan Courtis, interviewed by Kek-W for The Wire issue 365 (July 2014) p.29

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…I’m supposed to be an experimental musician, but in the end it’s quite shocking to notice that ‘experimental’ is not just a genre, label or adjective - it’s a basic quality of music.

Alan Courtis, interviewed by Kek-W for The Wire issue 365 (July 2014) p.28

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How can anyone be so unkind as to want to take another’s peace of mind?

And You Will Know Us by the Trail of Dead “The Rest Will Follow” (from “Worlds Apart” - Interscope, 2005)

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It’s a question of scaling: if you play for three minutes where you can hear a pin drop and you remove everything in the sonic space to the very hiss of an amplifier, that then becomes the baseline for your audience, and then all you need to do is tip the scales slightly in the other direction and it feels like the fucking world is ending.

Ben Frost, interviewed by Dan Barrow for The Wire issue 364 (June 2014) p. 42.

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no shit, captain acoustics

Mike Watt http://www.hootpage.com/hoot_dos.html