#advant garde

[desertedinurban]

Deserted In Urban #highfashiom

[sokosmicai]

"Cardiac Blessed"

Advant Garde Couture w/ Valentine & Cupid Thematic

[myrecordcollections]

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From the Neo classical / avant garde piano pieces from Doris Hays.. Dim the light or a cloudy sky and listen to this.

[psychopathic-tendencies666]

[myrecordcollections]

Van Dyke Parks

Songs Cycle

@ 1967 US Pressing (Mid 70s Pressing)

******

Van Dyke Parks moved on from the Beach Boys' abortive SMiLE sessions to record his own solo debut, Song Cycle, an audacious and occasionally brilliant attempt to mount a fully orchestrated, classically minded work within the context of contemporary pop. As indicated by its title, Song Cycle is a thematically coherent work, one which attempts to embrace the breadth of American popular music; bluegrass, ragtime, show tunes -- nothing escapes Parks' radar, and the sheer eclecticism and individualism of his work is remarkable. Opening with "Vine Street," authored by Randy Newman (another pop composer with serious classical aspirations), the album is both forward-thinking and backward-minded, a collision of bygone musical styles with the progressive sensibilities of the late '60s; while occasionally overambitious and at times insufferably coy, it's nevertheless a one-of-a-kind record, the product of true inspiration.

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The sound of this artist duo (Junko Tange and Masami Yoshikawa) from Tokyo was abstract and monolithic, using electronics, guitar, piano, and vocal. Nurse With Wound supposedly took the phrase, “To The Quiet Men From A Tiny Girl,” from this album sleeve for the title of their second album.

[inkandossuary]

In Defense of Gloom: Why Rick Owens is More Than Just Goth

Rick Owens isn't just a fashion designer; he's a world builder. His aesthetic, often dubbed "goth-gèthic" or "glunge" (glamour grunge), is one of the most distinctive and consistently challenging visions in contemporary high fashion. It's a dark, dramatic, and surprisingly human approach to dressing that transcends simple trends.

The Architecture of the Body

What defines the Owens look is his mastery of silhouette and proportion.

Deconstructed Form: His clothing is fundamentally architectural. He takes basic shapes a jacket, a coat, trouser, and stretches, drapes, and shears them into something new. Sleeves often pool dramatically, hems drag with a careless elegance, and shoulders are either aggressively padded or entirely absent.

A New Kind of Glamour: This isn't the sparkling, restrictive glamour of traditional evening wear. Owens finds beauty in decay, ruin, and the unfinished. His pieces are meant to look lived-in, slightly distressed, and powerful. It’s the glamour of a crumbling monument or a post-apocalyptic warrior, not a fairytale princess.

The Language of the Materials

Owens’s genius lies in his fabric choices, which give his minimalist color palette its depth and texture.

Luxurious and Brutal: He famously uses high-end, luxurious materials—silks, cashmeres, and the softest leather—but treats them brutally. They are washed, tumbled, or left raw. The juxtaposition of a delicate silk jersey with a heavy, textured calfskin is a signature move.

The Black, White, and Dust: While he occasionally uses bursts of color, his core palette of black, off-white (or "dust"), and various shades of gray is non-negotiable. This limited palette forces the viewer to focus entirely on the garment’s shape and texture, elevating simple black into a complex, nuanced statement.

Why the Aesthetic Endures

The staying power of the Rick Owens aesthetic comes down to its core philosophy: radical comfort and honest confrontation.

Comfort as a Philosophy: Despite the avant-garde appearance, his clothes are often voluminous, soft, and comfortable. He designs for a life lived, not just posed for.

Confronting Mortality: The dark colors, the skull-like structures, and the raw edges all quietly acknowledge the darker aspects of the human condition. Dressing in Owens is an embrace of one’s own mortality and fragility, turning it into a source of strength.

Beyond Gender: His designs often float free of traditional gender norms, focusing on the human form as a vessel for strength and dignity, making his pieces truly universal.

Rick Owens gives those who feel outside the mainstream a uniform of quiet, elegant rebellion. His work is a continuous meditation on beauty found in the shadows, proving that fashion can be both profoundly artistic and deeply personal. It's not just clothing; it’s an emotional armor. 🖤

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Heiner Goebbels, Alfred Harth

Zeit Wird Knapp

@ 1981 Germany Pressing

******

The Duo Goebbels/Harth (1975–1988), combining German composer, music-theatre director and keyboardist Heiner Goebbels and German composer, multi-media artist and saxophonist Alfred 23 Harth became famous for its adaptation of and departure from European composers, especially Hanns Eisler, implemented in a provocatively fresh manner into structured free improvisations and deploying content from areas beyond music. The duo was nicknamed the “Eisler brothers” by music critic W.Liefland. They later also experimented with different genres and sound collages, including electronic devices. The duo played in many international festivals and concerts in cities as diverse as Tel Aviv, Zagreb, West and East Berlin and South America.

Before the duo started, Heiner Goebbels especially admired the capabilities of Don Cherry, with whom about 15 years later he engaged in his project “Der Mann im Fahrstuhl,” adapted from Heiner Müller. In 1972, Goebbels moved from Landau to Frankfurt/Main to study sociology and complete a work on the German/Austrian composer, Hanns Eisler. Meanwhile, Alfred 23 Harth was finishing his degree as an art teacher at the university in Frankfurt/Main, as well as his conscientious objector’s civilian service in 1973-4, and in 1975 returned after three months of activity playing with the loft jazz scene in New York City (together with Jay Clayton, John Fischer and Perry Robinson). Previously, he had formed the groups Just Music (1967–72) and E.M.T. (1972–74). He was then searching new musical companionship in the local Frankfurt music scene and joined a jazz-rock band comprising Goebbels on keyboards and drummer Uwe Schmitt, later in Gestalt et Jive, that shortly after broke apart while leaving some previously booked concerts open. Harth encouraged Goebbels to play one of the remaining concerts, freely improvising in a duo with him. They exchanged information and during a rehearsal Harth played the melody of some Eisler songs on saxophone, which Goebbels accompanied on the piano. They continued improvising freely, thematically deconstructing Eisler’s music just to have it emerge again in a twisted manner. They also extended the range of their instruments.

A first Duo Goebbels/Harth concert took place in 1975 at the Darmstadt main theatre. The duo’s history would have stopped here if they had not been asked to contribute a special event for an opening for an artist friend a few weeks later in Frankfurt/Main. Once again Goebbels and Harth played their fresh repertoire of music at the "Ersatzausstellung" by Vollrad Kutscher, from which photographs found their way to covers of the later LPs and CDs of the duo Goebbels/Harth. Christoph Anders, a later member of the "Sogenanntes Linksradikales Blasorchester" and Cassiber, was in the audience and since then became a friend to the two musicians. The enthusiastic reaction of the audience to their humorous and skilled diversity lead to more concerts for the newly formed duo Goebbels/Harth. Soon they contacted Jost Gebers from FMP, whom Harth knew from his LP production with E.M.T. and arranged a live recording session at the "Flöz" in 1976 in West Berlin, which emerged as the LP "Vier Fäuste für Hanns Eisler" which boosted the duo’s recognition. The same year, Goebbels started formal music studies at the Hochschule für Musik und Darstellende Kunst Frankfurt am Main.

In 1978 the duo played at the Deutsches Jazzfestival Frankfurt and started to work on a second LP "Vom Sprengen des Gartens" for SAJ/FMP (1979), where they also worked in a manner removed from their European heritage by implementing ideas from German composers, such as Bach and Schumann in their free improvisations. Joachim-Ernst Berendt called this LP "one of the most important German jazz LPs in the 1970s.” Around 1978-79, Goebbels and Harth started to compose for the theatre as well as film music for German director Helke Sander.

In 1981, Berendt together with the duo produced the LP, "Zeit wird knapp" by including love poems and ballads from Bertolt Brecht, for which they recruited vocalists Dagmar Krause and Ernst Stötzner. The duo then artistically shaped the German new wave music/Neue Deutsche Welle in their style with their LPs "Indianer Für Morgn" and "Frankfurt/Peking" by also using synthesizer, electronic devices, and extended instruments. They made a short adaption of the Revolutionary opera Pekinese, which in 1996 led Japanese avant-garde musician Otomo Yoshihide to incorporate samples of it into a project with his group Ground Zero. The duo then carried out two tours to South America with the help of the Goethe Institute.

Around 1983-84, the creative spirit of the pair diminished. In 1987, Harth had been playing reeds and brass instruments in Goebbels’ performance "Der Mann im Fahrstuhl" at the Festival International de Musique Actuelle de Victoriaville in Victoriaville, Quebec, Canada ( together with Arto Lindsay and Heiner Müller). At the same festival, a final significant Goebbels/Harth event took place through a live recording, which became a kind of synopsis of the duo’s entire repertoire over its long history. After a few more duo events and the unreleased last recordings “Duos für Fritz,” Harth disbanded the duo in 1988.