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yerg

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I had some great experience watching Samothraki Festival 2003 DVD

 

At the end there were shown interviews with all the artists who took part in it.

 

And i was hooked by that phrase from Ian Ion (KoxBox):

 

"Look at the nature around you - it's as psychedelic as in front of the speakers"

 

Those words made me feel so wonderful, so i thought somebody could give more examples that would characterise the spirit of psychedelic trance music.

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"Look at the nature around you - it's as psychedelic as in front of the speakers"

Nature is as psychedelic as in front of the speakers? :blink::unsure:

 

Either you misquoted it or it doesn't make sense ;)

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perhaps he meant that nature out there when not stoned and drugged up to the eyeballs is as psychedelic as when youre fucked up at festival :D ?

Well yeah. That's why I don't do drugs at all, because I don't need them to marvel at the beauty and complexity of the universe... So there, where's the mind blowing part in this quote? :)

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'The unidentified phenomenon is heading for Moscow' - Etnica -Be on go

'The way i feel i dont have to sleep for a year, i'm on F&$*ing FIRE!' - Hallucinogen - Shamanix

hmmm theres many more but i cant remember the songs names exactly.

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Well yeah. That's why I don't do drugs at all, because I don't need them to marvel at the beauty and complexity of the universe...

Nor do I, but I find I marvel at them a lot more since taking drugs.

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Paradise is not a place but a form of concioussness (Boris Blenn - Portamento)

I couldn't fail to disagree with you less (Boris Johnson - Have I Got News For You)

 

(not that I disagree with you; I just love that quote)

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Here are a few from my "research log" (raw quotations I've compiled for future articles):

 

Music is an ocean and you can not swim in all the world's seas at the same time...

- Gabriel of BPC (PKS interview)

 

"We're interested in information, we're not interested in music as such. And we believe that the whole battlefield, if there is one in the human situation, is about information."

- Genesis P'Orridge (1982)

 

"Counterculture blooms wherever and whenever a few members of a society choose lifestyles, artistic expressions, and ways of thinking and being that wholeheartedly embrace the ancient axiom that the only true constant is change itself. The mark of counterculture is not a particular social form or structure, but rather the evanescence of forms and structures, the dazzling rapidity and flexibility with which they appear, mutate, and morph into one another and disappear.

 

Counterculture is the moving crest of a wave, a zone of uncertainty where culture goes quantum. To borrow the language of Nobel Prize-winning physicist Ilya Prigogine, counterculture is the cultural equivalent of the "third thermodynamic state," the "nonlinear region" where equilibrium and symmetry have given way to a complexity so intense as to appear to the eye as chaos."

- Timothy Leary (from the introduction to Counterculture Through The Ages, Ken Goffman & Dan Joy)

 

"On a personal level, Freaking Out is a process whereby an individual casts off outmoded and restricting standards of thinking, dress, and social etiquette in order to express creatively his relationship to his immediate environment and the social structure as a whole."

- Frank Zappa's liner notes for Freak Out

 

"These people were surfing the psychedelic bardo, that liminal zone that variously evokes dreamtime and death, primal rites and apocalypse. My own limbs had first plumbed that zone during Grateful Dead shows in California in the early 1980s, especially during the legendary second sets. But in contrast to the Dead's notoriously loose if often resplendent noodling, Goan trance seemed more economically engineered for psychedelic journeying.

 

Let's be clear: most of the psychedelic characteristics of psy-trance are functional rather than simply representational. That is, they trigger and extend psychedelic perception as much as they signify it with characteristically "trippy" cues. Just as the combination of Flouro-lite dyes and black lights seems to virtualize visible objects to a suitably tweaked visual systems, the music's sonic afterimages and timbre trails disintegrate conventional spacetime and allow shimmering micro-perceptions to emerge on the melting border between soundwaves and internal sensations. Portals appear, resonating geometries that seed further cognitive and somatic shifts, while the relentless and essentially invariant rhythm--what the Australian-Goan DJ Ray Castle calls "quantum quick step"--at once anchors and fuels the voyage. Repetition becomes a carrier wave, the audible beats seemingly dissolving into pusling nervous systems whose mutual entrainment brings on a collective intensity which transcends--yes, transcends--the usual dance floor heat."

- Hedonistic Tantra, Erik Davis

http://www.techgnosis.com/hedonic.html

 

"I can't say I have one particular favorite recording artist. To make a top 10, is too limiting. Its constantly changing. For sure there are always pieces being made that are stunning and very contemporary and speak of the spirit of the time. But it is hard for any one artist or group to stay vitally hot on the vibe, consistently. Artists tend to peak. Mostly, if they have some commercial success, they tend to cling on to the formulas that gave them visibility. Fashion is an undulating tide, and the more enduring creative innovators can interpret the constant shifts, reinventing themselves, as they rock with the waves. The job of a DJ is to take individual tunes out of the collective whirlpool, data flow, and create an information chain-reaction-statement out of it. And when the artists hear their music reinterpreted in a mix, their tunes take on a life of their own. One tune can have magnificent bearing and influence upon the direction of a collective movement. Then other tunes come which mirror that one back, which creates the evolution. Its more than any one artist. Its greater than one. All we really can be is a clear vehicle, or channel, to allow something much greater and universal to flow thru, without attaching too much personality or ego identification to it. Then it comes down to the fundamental role--pop, fashion, art, culture or spirituality--serves for society's psychic health."

- Ray Castle, from AN EVOLVING ECOLOGY OF INTUITIVE CIRCUITS (August 1997)

 

"It's hardly disputed that, even in a tangible, cultural sense, the introduction of psychedelics into our society in the 1960s altered the sensibilities of users and nonusers alike. The trickle-down effect through the arts, media, and even big business created what can be called a postpsychedelic climate, in which everything from women's rights, civil rights, and peace activism to spirituality and the computer revolution found suitable conditions for growth.

 

As these psychoactive plants and chemicals once again see the light of day, an even more self-consciously creative community is finding out about designer reality."

- Douglas Rushkoff, Cyberia

 

"The persistence of psychedelia as both a tool and a motif in rock culture is hard to ignore when you look around at the mass Techno gatherings of the Nineties. When British writer Jon Savage went to a rave at London's Brixton Academy in the summer of 1993, he noted that "the whole scene reminds me of the place I wanted to be when I was 18: San Francisco's Avalon Ballroom... the sound is Techno, but psychedelic references abound in the light shows, the fashions, the T-shirts reading 'Feed Your Head,' the polydrug use..." The entranced and Ecstatic dancers who lose themselves in the pulsing synthetic rhythms of Orbital and the Chemical Brothers are chasing exactly the same state of bliss or kairos that drew the first Deadheads in the San Francisco ballrooms of the mid-Sixties.

 

Mind expansion is clearly not something that's going to go away.

 

Was it all just about drugs, then? Or is that the wrong question? Surely the drugs and the music were symbiotically twinned, part and parcel of the same trip, a dual means of breaking down the barriers which had blocked the psyche of American youth for so long. What happened in San Francisco was a grand experiment in quasi-communal living, an attempt to break away from mainstream America--from conformity to capitalist consumerism, from the rigidity of sexual roles, from the violence of the Vietnam War--and create a new tribe of "beautiful dropouts." Hallucinogenics simply served as the gateway to a new paradise in which the world could be apprehended mystically as a cosmic web rather than as an atomistic rat race."

- Barney Hoskyns, Beneath the Diamond Sky (a history of Haight-Ashbury, 1997)

 

"...the fizzing electronic sounds all too accurately reproduce the snap of synapses forced to process a relentless, swelling flood of electronic information.

 

If there is one central idea in techno, it is of the harmony between man and machine. As Juan Atkins puts it: 'You gotta look at it like, techno is technological. It's an attitude to making music that sounds futuristic: something that hasn't been done before.'"

- http://music.hyperreal.org/library/machine_soul.html

 

"Melt in the music of the drums!

For I am you and you are I."

-- Third Solidarity Hymn from Aldous Huxley's Brave New World

 

(This is just a sampling.)

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"Look at the nature around you - it's as psychedelic as in front of the speakers"

The human brain is part of nature, so the nature inside of you is what makes psychedelics possible. But I guess he was referring to all the beauty in nature and all the naturally occurring psychedelic phenomena.

 

Don't be trapped by old concepts... We adapt... We survive...

Respect!

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you make me wanna drink more-ticon :lol:

Very nice :lol:

 

Ian Ion wanted to say that experiencing psychedelic trance music at the "open air" (in the forest, by the sea, etc.) is a true concept of Psy-parties. Samothraki is indeed very beautiful place.

 

Just compare when you're in a closed club and when you are free to move when all the nature embraces you. (personally i feel much better outside then inside).

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I couldn't fail to disagree with you less (Boris Johnson - Have I Got News For You)

 

(not that I disagree with you; I just love that quote)

in other words i couldnt agree with you more?

 

these twisted sentences drive me crazy :wacko:

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in other words i couldnt agree with you more?

 

these twisted sentences drive me crazy :wacko:

No, he doesn't fail to disagree. Hence it's understood that he disagrees.

 

 

Great line, but how does it relate to the scene?

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No, he doesn't fail to disagree. Hence it's understood that he disagrees.

Great line, but how does it relate to the scene?

if you disagree with someone less then wont you in a way agree with him or remain neutral ?
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if you disagree with someone less then wont you in a way agree with him or remain neutral ?

I think that what Boris meant is that had the person with whom he was talking said anything else then Boris would have disagreed with him less, in other words that he disagreed with what the person had said as much as it was possible for somebody to disagree.

 

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