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Saturday, March 7, 2020

Andrew Liles - (2018) Colossus (Part One: 1969-1993)

Self-released ‎– none 
Part ONE / TWO / THREE / FOUR

Andrew Liles—collaborator of Nurse With Wound and Current 93, remixer of the Groundhogs, producer, prolific recording artist, “regarded by some to be the funniest man” (Tony (T.S.) McPhee)—turned 49 yesterday, March 11. He marked the beginning of his 50th year by releasing 20 hours and 50 minutes of music: the first half of his new work Colossus, which will eventually comprise 50 tracks of 50 minutes each, one for every year of his life to date.
Each track is named after a song that was number one in the UK chart on Liles’ birthday, and all feature a guest narrator; on Colossus Part One (1969-1993), Liles is joined by members of Faust (Jean-Hervé Péron), the Legendary Pink Dots (Edward Ka-Spel), Renaldo & the Loaf (Brian Poole), Comus (Bobbie Watson, Jon Seagroatt), and Mayhem (Maniac), along with Benjamin Louche, James Worse, Karen Pittis and Steve Pittis. It’s a completely insane vision of 25 years of life and 25 years of pop music, and I loved every single minute.
Colossus is conceptually related to Liles’ “extensions” of classic songs, such as his 50-minute elaboration of the Beatles’ “Tomorrow Never Knows,” his 30-minute edit of Slayer’s “Angel of Death,” and, most recently, his 47-minute mix of “When the Levee Breaks.” But, crucially, all the music on Colossus is original work. Liles’ method:
The music is either in the same key or with the same notes played but in a different order, backwards or inverted. Further music and notation has been added by myself. They are absolutely nothing like the originals.
Additionally, the words to the songs are formed from the lyrics to every Number One hit from the last 50 years. But with a twist.
I have adapted the lyrics by using the William Burroughs cut up method and further changed them to make some kind of structure, but they remain predominantly abstract and nonsensical.

Head above the heavens, feet below the hells, Colossus spans the sublime and the abject. There are passages of exquisite beauty, and there are parts that make your bowels cramp and your teeth hurt. You really have to put in 20+ hours to appreciate its range. On the one hand, it’s hard to imagine anyone’s parole officer, spiritual advisor or grandma objecting to the boys’ choir on “If,” or the tinkling music-box arpeggios that make up the gentler parts of “Chain Reaction.” On the other, the martial pomp and mortal terror of “Wuthering Heights,” the total nightmare James Worse makes of “Chanson D’Amour,” and Brian Poole’s reading of Bread’s “Everything I Own” (number one for Boy George in ‘87) in an industrial setting all demand courage (and probably headphones) on the part of the listener.
There is no useful way to categorize this monstrous, perverse work, which, Godzilla-like, lays waste to all genres, supremely indifferent to their partisans’ cries. For instance: passages in “Billy Don’t Be A Hero” suggest stately art music, the Residents, Goblin, Wendy Carlos, Krautrock, circus organ, David Lynch soundtracks, and power electronics; and yet, somehow, it’s still “Billy Don’t Be A Hero.” The feeling emerges that you’re not listening to the song so much as visiting the mental space from which it originated, skrying the Paper Lace’s stage outfits on the Tree of Life.
Or maybe you’re confronting the shambling, undead specter of the song, as is the case with “Jealous Guy.” Musically, Liles’ composition is more Bernard Herrmann than John Lennon, and the scrambled lyrics, read by Maniac, become like a soliloquy Frankenstein is delivering while he pursues you into the bathroom, arms outstretched:
I mean to hurt you
I made you past control
Beating hurt
I’m mean
I don’t know how to summarize these 21 hours of music except to say that the feeling of being haunted came up repeatedly. On “Wand’rin’ Star” (another Maniac vocal), it’s as if Lee Marvin’s shade is trying to communicate by Ouija board, and he can only use words from his Paint Your Wagon hit, and he does not bring good news.
You should let Colossus transform your life. Let its ominous chords suffuse your changeless routine with dread; let its heroic themes exalt your soul. And be grateful that, at last, there is a version of “Total Eclipse Of The Heart” Dangerous Minds readers can be proud to sing at karaoke.




Tracklist
1. Where Do You Go To (My Lovely)? (Narration by Jean-Hervé Peron) (50:00)
2. Wand'Rin' Star (Narration by Maniac) (50:00)
3. Baby Jump (Narration by Jon Seagroatt) (50:00)
4. Without You (Narration by Edward Ka-Spel) (50:00)
5. Cum on Feel the Noize (Narration by Karen Pittis) (50:00)
6. Billy Don't Be a Hero (Narration by Jon Seagroatt) (50:00)
7. If (Narration by Brian Poole a.k.a. Renaldo M) (50:00)
8. I Love to Love (But My Baby Loves to dance) - (Narration by Benjamin Louche) (50:00)
9. Chanson D'Amour (Narration by James Worse) (50:00)
10. Wuthering Heights (Narration by Bobbie Watson) (50:00)
11. I Will Survive (Narration by Steve Pittis) (50:00)
12. Together We Are Beautiful (Narration by Jean-Hervé Peron) (50:00)
13. Jealous Guy (Narration by Maniac) (50:00)
14. The Lion Sleeps Tonight (Narration by Karen Pittis) (50:00)
15. Total Eclipse of the Heart (Narration by Edward Ka-Spel) (50:00)
16. 99 Red Balloons (Narration by James Worse) (50:00)
17. You Spin Me Round (Like a Record) (Narration by Benjamin Louche) (50:00)
18. Chain Reaction (Narration by Edward Ka-Spel) (50:00)
19. Everything I Own (Narration by Brian Poole a.k.a. Renaldo M) (50:00)
20. I Should Be So Lucky (Narration by Steve Pittis) (50:00)
21. Too Many Broken Hearts (Narration by Maniac) (50:00)
22. Dub Be Good to Me (Narration by Jean-Hervé Peron) (50:00)
23. Should I Stay or Should I Go (Narration by Maniac) (50:00)
24. Stay (Narration by Jon Seagroatt) (50:00)
25. No Limit (Narration by Bobbie Watson) (50:00)

Total length: 20:50:00


Andrew Liles - (2019) Colossus (Amalgamation, Codicil & Appendix)

Self-released ‎– none

COLOSSUS was initially released as a download project that consisted of 50 tracks all of which were 50 minutes long. It was completed on 11th March 2019, my 50th Birthday.
Part One and Two of the download version combined are over 41 hours of 'music'.

The 'songs' are extreme, simple, complex, mellow, angular and often surreal adaptations of every single hit from the last 50 years that was at Number One in the UK charts on my birthday.

The music is either in the same key or with the same notes played but in a different order, backwards or inverted. Further music and notation has been added by myself. They are absolutely nothing like the originals.

Additionally, the words to the songs are formed from the lyrics to every Number One hit from the last 50 years. But with a twist. I adapted the lyrics by using the William Burroughs cut up method and further changed them to make some kind of structure, but they remain predominantly abstract and nonsensical.

This L.P. version is an instrumental, edited and consolidated collection of all 50 tracks in chronological order cut into 50 second extracts.

Japanese Torture Comedy Hour - (2011) The 24 hour Japanese Torture Comedy Marathon

Grindcore Karaoke ‎– 100
Part  ONE / TWO / THREE / FOUR

By the end of '97 I had this almost nightly ritual of getting stoned and recording a 60 min. session of live electronics. All these recordings were created by simply patch wiring guitar FX boxes into a self-sustaining sound loop and manipulating the feedback rushing through them. I used absolutely no instruments (synthesizers, guitar, microphones, samplers) as source for any of these recordings. Even though I had a computer I was still recording to either VHS cassette or to minidisc due to concerns with PC hang ups and crashing. In 2004 I had the intentions of finally converting over some of the few hundred hours of audio I'd accumulated into some usable digital format and maybe try and release something. After successfully converting a dozen or so of these recordings directly onto an external drive I started feeling more open to the possibility of recording with my PC. This lead me to rethink an idea I had shelved of attempting a continuous 24 hour long live recording session. In complete awe of Masami Akita's 50 CD, 60+ hour MERZBOX I felt really inspired to attempt something completely absurd like this. I started buying up tons of patch cables and hitting up pawn shops for used guitar pedals. The recording setup was to include a Mac G4, external hard drive and two VHS decks to use as a failsafe in case this recording failed digitally. For days I wired and tested different combinations of effects but even with the amount of preparation I did my first two attempts both failed around the 4 hour mark from dead air. On June 28th, 2004 I committed myself to having another go at it. I bought a couple packs of Newport's, blunts and some Adderall to get my head back in the game when I needed it. I also had a couple large jugs of water that I knew I'd wind up having to piss in once this shit got rolling. At 1AM the following morning I pressed record on what would turn out to be one of the most self defeating experiences of my life. Only six hours into the session my mind was already starting to unravel. During one of many hyper critical moments I cried real tears realizing how committed I had become in this. Around sixteen hours in I was so mentally raped I found myself picking at my face and plucking hairs out of my beard with my fingers. I remember asking myself over and over "What kind of asshole does this shit?". I honestly lost real trust in myself that day in regards to what I was doing with my life. By the time this thing was finally wrapping up I was so bat shit crazy I literally thought I was hearing voices speaking to me through the static. I passed out minutes after powering down and woke up some 14 hours later to a headache, difficulty breathing and a 15.24 GB audio file that wouldn't load. Searching through some old hard drives a couple months back I came across the audio file for this recording. I had always believed the file was corrupt but never could bring myself to delete it. I figured I take another stab at opening it and amazingly I was successfully able to import it in Final Cut Pro X. Not trusting I'd ever be able to open the file again I immediately chopped and exported it as x24, 60 Min. tracks. After reviewing the material I have to say I'm personally not all that impressed with what I heard but for all it's flaws I felt it was still a stunt worth sharing with others -all 24 strange hours of it.