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\u2022 The late David Roback<\/a> was a musician who would have been called “enigmatic” for his refusal of the interview treadmill, preferring instead to let his music speak for itself. I wouldn’t label myself a “fan” (a word I dislike at the best of times) but over the years I’ve collected just about everything that Roback was involved in, from the early Rain Parade albums (he co-wrote my favourite song of theirs, No Easy Way Down<\/em><\/a>), to Opal<\/a> (his collaboration with Kendra Smith and others), and Mazzy Star (with Hope Sandoval), the group whose songs perfected the somnolent blend of blues, country and rock that Roback had been aiming at all along. Some concerts:<\/p>\n \u2022 Mazzy Star, The Black Sessions, Maison De La Radio, Paris, October 25, 1993<\/a> \u2022 “Like other early-modern architects, Lequeu\u2019s drawings explore analogies between bodies and buildings and the erotic, multisensory dimensions of architectural design. In his annotations, he often describes in compulsive detail not only how buildings look but also how they feel, smell, and even taste.” Meredith Martin<\/a> on the architecture of Jean-Jacques Lequeu.<\/p>\n \u2022 “She talks avidly about using pigs\u2019 heads, plastic doll parts, fake blood, and real blood, recollecting with relish a performance where she transformed into a Statue of Liberty that projectile-vomited gore onto the audience…” Geeta Dayal<\/a> on the performance art of Johanna Went.<\/p>\n Sch\u00fctte teases out the many ambiguities in these concepts: trains, autobahns, radioactivity, men-machines. All have distinct negative connotations within Germany in particular. Yet Kraftwerk proposed a positive view. Their rigorous determination to deny autobiography forced listeners to focus on the ideas and the music, where apparent contradictions\u2014local\/global,\u00a0 human\/machine, past\/future\u2014were resolved in a sparkling, crystal-clear sound-world. This was not submission but interaction: as they said, \u201cwe are playing the machines, the machines play us\u201d.<\/p>\n Jon Savage<\/a> reviews Kraftwerk by Uwe Sch\u00fctte<\/em><\/p><\/blockquote>\n \u2022 “…it was clear that Miles wasn\u2019t sure what he wanted…but he knew what he didn\u2019t <\/em>want. He didn\u2019t want anything like what he had done before.” John McLaughlin<\/a> on the recording of Bitches Brew<\/em> by Miles Davis.<\/p>\n \u2022 “His panels are littered with figures standing on the edge of crowds, watching.” Toby Ferris<\/a> on the paintings of Pieter Bruegel.<\/p>\n \u2022 Alex Barrett<\/a> on 100 years of The Cabinet of Dr. Caligari<\/em>.<\/p>\n \u2022 A Boy Called Conjuror<\/em><\/a> by Teleplasmiste.<\/p>\n \u2022 At Dennis Cooper’s: Fires<\/a>.<\/p>\n \u2022 Smithsonian Open Access<\/a><\/p>\n \u2022\u00a0Picture P. Brueghel “Winter” \/ Solaris<\/a><\/em> (1972) by\u00a0Edward Artemyev | The Dream Dance Of Jane And The Somnambulist<\/a><\/em> (1981) by Bill Nelson | St. Elmo’s Fire<\/a><\/em> (1998) by Uilab<\/p>\n","protected":false},"excerpt":{"rendered":"
\n\u2022 Mazzy Star at the The Metro, Chicago, November 12, 1994
\n<\/a>\u2022 Mazzy Star, KROQ Radio, Los Angeles, December 10, 1994<\/a><\/p>\n