Did I really just post that? omg....
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That's great, Mirko. Congrats to your wife for the ALA award. She's a smart lass
My wife is a neuro-psychologist at a local hospital. Brain injury rehabilitation mainly.
(She is also an adjunct prof at the local university.)
I find EQ to be far more critical to a mix than compression. Even better, why not introduce elements in an ambient piece that touch on all of the different frequency ranges? I find it hard to listen to some of my earlier pieces, which sound too midrangy to me.
yesterday has been the saddest day of my life, I was shocked. He died of a stroke. We've been friends for 12 years, we've been sharing thoughts and feelings, and his "non-musical" teachings are now the foundations of my life.
In the last 12 years Klaus spent a lot of time in my house, playing and listening to music, talking about Life and Mystery and Religion and Music. An immense loss.
May His Light Shine Forever
What annoys me is when people are experimental for the sake of it. I think music should be a reflection of yourself, the things you love, and your idiosyncrasies, while maintaining a healthy respect for the listener.
I take those who self-describe as "experimental" musicians to be ignorant of all that has gone before!
I'm outta here for 3 weeks holiday!
Brian Eno once said something to the effect of: every album you release has about 5% originality and 95% generic-ness, and that's ok. So U2 go to some other other sources for inspiration, great! Now I've heard of Sugimoto! Remember, U2 were all over Eno in 1985... so they're allowed to have some 'gallery cool'
I also happen to think that your photography rocks! The loscil 'plume' cover has been a fave of mine for a long time.
Eno once also said (though I'm neatening it up here) that it is better NOT to be out on the edges doing the cutting edge stuff, that he preferred to observe the work of those who do and pull it back to the centre. That's very true...if you're making pop music. The recent Daniel Lanois DVD was interesting because it showed just how reliant U2 are for any level of sonic interest in their music on Eno and Lanois. Meanwhile, Daniel must release his own non-commercial music at cottage industry level. Often, those at the edges are not the best judges of what is valuable in their work for a broader audience.
Thanks re. the Loscil shot. I love that one too. It quietly references two early graphic influences: Factory Records and Pink Floyd's Animals cover without beng an obvious "Bonofication".
Certainly the photographer or his agent needs to weigh in on this vis-a-vis licensing issues.
However, Richard's work was done in close collaboration with the Washington, DC museum exhibiting the photographer's work and is obviously closely related to the images, designed specifically to be heard in relation to the images. Sugimoto was aware of this. Therefore it is a more cohesive and collaborative work of art. So IMO, the use of the image on Richard's CD deserves the "privilege".
Nothing U2 can record will have that. If they weren't so busy managing property they might find the time to realize that music has changed a great deal since Boy came out and that if they want "gallery cool" to be associated with their music they need to work harder at it.
Now, where's my copy of "He's So Fine"? No, wait, I meant "My Sweet Lord"!
There is plenty of bling in Hypnos already. Obviously you haven't seen my grill.
That's sort of the opposite of controversial.
Now, if U2 would do an uncredited ripoff of "Nervous Eclipse," resulting in me & Dave T getting notoriety plus big music checks, that would be cool.