Pop & Rock Новости

* First ever LP reissue, first time on CD & Digital
* Produced by Lee Hazlewood
* Featuring three unreleased tracks
* In-depth liner notes by LHI Archive Series co-producer Hunter Lea with unseen archive photos
* All tracks newly remastered from the original tapes
* LP housed in deluxe Stoughton 'Tip-On' gatefold jacket

The pantheon of performers known by but one name is full of superstars. Arthur-the nom de plume of singer-songwriter Arthur Lee Harper-is not one of them, but this gentle singer-songwriter and his wan, string-drenched, loved-up, psych-folk was probably never likely to be suitable for mass consumption.

Released on Lee Hazlewood's LHI label, the haunted Dreams And Images is the first of two albums from the Melbourne, Florida-born singer-songwriter. LHI was a broad church, taking in everything from soul to country, and Arthur found a home, a producer, and a champion in Hazlewood, who described him as "A man who will someday be a child again... A reason to cry and be unafraid... A bird with eighth-notes for wings."

Though his lonely, intimate music, shy demeanor, and stutter might not have suggested a man of great ambition, Arthur moved to Hollywood chasing the music industry dream. He suffered hardships to do so, living hand-to-mouth in a YMCA hostel with two like-minded individuals: Mark Lindsey Buckingham and Stephen John Kalinich, whose A World Of Peace Must Come has been reissued by Light In The Attic. "Arthur was a peace person. He was all about peace, love, and harmony," remembers Kalinich in the brand new, extensive liner notes for Dreams And Images. "He was a person that believed you could change the world. We thought we would be some of the ones to usher in peace."

While Kalinich and Buckingham were signed by the Beach Boys' Brother Records, Arthur allied with Hazlewood, having knocked on the door of the label's Sunset Boulevard HQ and auditioned on the spot. Entering the studio with Hazlewood, Donnie Owens, Tom Thacker, and arranger Don Randi, who brought baroque pop grandeur to the songs, Arthur let his music do the talking. "He stuttered and had a hard time getting his ideas out, so he would sing me the parts he had in mind,' remembers Randi.

A mixture of things conspired to make sure few people heard Arthur, including a packed release schedule at LHI, followed by the withdrawal of their major label funding and a lack of foundation on which to market the album. After the 1970 follow-up album, Love Is The Revolution, Arthur bowed out of the business, immersing himself in Christianity, family, and a career working first as a rocket engineer and, latterly, a teacher. "I never stopped writing or recording," he later said. "I recorded in studios, friends' houses, and live. I just recorded music with my friends or by myself when I felt inspired. For me, singing and songwriting is like breathing; I just do it."

On January 10th, 2002, Arthur's wife Lora died in a car crash. He tragically passed away of a heart attack the same night. Now, with this reissue of his great, lost album, Arthur's fragile heart can finally be enjoyed by all.

Duvall Timothy isn't a musician. At least not in that conventional sort of way. No, Timothy's artistic expression is the sort in which all his daily actions are intentional and each action reveals a small part of his large vision. He steps out for his day dressed in all blue: A statement of self. He chefs African cuisine: a medium to discover his heritage and share that heritage with others. And when he returns home, he plays piano

Repress.

40th anniversary limited edition !!!

DJ Sotofet has rearranged two Finnish jazz funk classics from mid 70's that came out in original form on Jazzpuu in 2001.

Yann Tiersen has sold hundreds of thousands of records worlds wide and even more soundtracks. Since 2009 he has been focused on playing live, with 270 shows spread over three world tours, which touched every continent. This Autumn Tiersen returns home and is releasing four beautifully re-mastered editions of his first four albums, La Valse Des Monstres (1995), Rue Des Cascades (1996), Le Phare (1998) et (Tout Est Calme 1999). With his whimsical, melancholy music, Yann Tiersen has become a sought-after composer, not only for his soundtrack work, but in his own right. Borrowing from French folk music, chanson, musette waltz and street music, as well as rock, avant-garde, and classical and minimalist influences, Tiersen's deceptively simple style has been likened to Chopin, Erik Satie, Philip Glass, and Michael Nyman. Tiersen became popular outside his native country for his score to Jean-Pierre Jeunet's film Amélie, but this was no over night successes. He had been working for years before the film's success brought him international acclaim. Born in Brest in Brittany, on June 23, 1970, Tiersen was raised in Rennes and made a name for himself as one of the star pupils at his local conservatory. Tiersen studied violin and piano from the ages of six to fourteen, and eventually trained to be a conductor. However, Tiersen rebelled against his classical training and, inspired by the likes of Joy Division and the Stooges, played guitar with several local post-punk-influenced bands during his later teenage years. At the same time, Tiersen was also composing soundtracks for short films and accompaniment for plays. Several of these pieces ended up on his first album, Valse des Monstres, in 1995 and introduced his delicate but deeply emotional style, and which also featured intricate arrangements incorporating instruments as varied as toy piano, banjo, harpsichord, melodica, and carillon, as well as piano and guitar. If Valse des Monstres and its follow-up, 1996's Rue Des Cascades, were intial slow burners Tiersen's third album, 1998's La Phare, met a different fate, its single, "Monochrome," which was sung by French pop star Dominique A., was a radio hit and propelled the album, and Tiersen, to mainstream success in France. As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more the rock-oriented album Tout Est Calme. Soon after, Tiersen was preparing his next album when he was contacted by Jean-Pierre Jeunet, who wanted Tiersen to score his next movie, Amélie. Jeunet had heard Tiersen's music while driving and had been so taken with it that he bought all of Tiersen's albums. His Amelie score featured new and old compositions, and the film's success spun off to Tiersen's music.

Cowboy in Sweden, the soundtrack to the 1970 cult classic film of the same name, is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources...for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success Boots" had promised.

Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin...Sweden was calling.

While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. I met Lee through my script girl, in Stockholm in 1969,' remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.' The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.

Light In The Attic records continues its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee's journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood's strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.

Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times'), some beautiful ladies to sing with ( Leather & Lace' & Hey Cowboy') and even a couple anti-war protest songs to be topical ("No Train to Stockholm' & For A Day Like Today'). The David Bitter Sweet Symphony' Whitaker arranged orchestral pop of What's More I Don't Need Her' and the stone cold Hazlewood classic The Night Before' cement the album as Lee's peak on LHI records and ironically the label's swan song.

Cowboy in Sweden, the soundtrack to the 1970 cult classic film of the same name, is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources...for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success Boots" had promised.

Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin...Sweden was calling.

While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. I met Lee through my script girl, in Stockholm in 1969,' remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.' The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.

Light In The Attic records continues its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee's journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood's strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.

Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times'), some beautiful ladies to sing with ( Leather & Lace' & Hey Cowboy') and even a couple anti-war protest songs to be topical ("No Train to Stockholm' & For A Day Like Today'). The David Bitter Sweet Symphony' Whitaker arranged orchestral pop of What's More I Don't Need Her' and the stone cold Hazlewood classic The Night Before' cement the album as Lee's peak on LHI records and ironically the label's swan song.

Followers of the Sonic Pieces catalogue will already be familiar with the individuals of F.S.Blumm and Nils Frahm as well as their acclaimed work as a duo. But even though they're making use of familiar instruments their new album Tag Eins Tag Zwei manages to add a new tone to their already unique language. By trading their post-processed sound sculptures that made up the two preceding albums in for intimate pieces of improvisation, this collaboration merges into the most soothing and life affirming recording the two have produced so far.

Guitars and toys are flowing next to piano and harmonium like an organic combination, shaping nine suits that abnegate any common categorization. Involving classical, jazz and folk influences it's the genuine use of tricks and delays that lift these improvisations above the ordinarXy and makes them both incredibly relaxing and exciting at the same time. It is almost ironic that by capturing accidental moments of free playing, Frank and Nils are succeeding at an even more impressive scale than their already highly satisfying previous output.

The result delivers a perfect example of how immediacy can be the most powerful approach to creating music. Based on a remarkable understanding of each other's phrasing the pair of sessions that comprises this album shows two vivid artists at the peak of their game: Unconditional spontaneity.

"Milano Marittima Time Of The Season" is a compilation double CD dedicated to the most refined palates, a perfect mix of gentle and soothing sounds for two hours of "easy listening" pure. We find jazz sounds in international songs here re-proposed with a new arrangement, many Italian songs revisited in key lounge retracing vintage atmosphere of the past. A product for true connoisseurs and absolute must for collectors and fans of high-class music.

Both albums, double heavy weight vinyls, exclusive 12' single and CD. Button badges and prints.Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.

Double LP heavyweight vinyl, gatefold sleeves, printed inserts and download code.

Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.

The history of Beethoven symphonies on record began with the November 1913 recording of the fifth Symphony by Arthur Nikisch and the Berlin Philharmonic. It reaches a fascinating chapter with these recordings by the Philharmonia Orchestra conducted by Herbert von Karajan. They also mark a fascinating stage in the controversial career of Herbert Von Karajan. These symphonies were recorded at Jesus-Christus-Kirche in Berlin. December 1961 (No. 1) and February 1962 (No. 8)

Double 180gm vinyl LP pressing. The original Buena Vista Social Club album became a surprise international best seller and the most successful album in the history of Cuban music.

It was recorded for World Circuit Records by Ry Cooder over seven days in Havana in 1996,

bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.

In the years that followed the original release, Buena Vista veterans toured the world and were the subject of a celebrated feature film directed by Wim Wenders.

2015 REMASTERED 180g VERSION

Elvis, the record, was released in October 1956 and remained at US No.1 for five weeks. For Elvis, the man, an
incredible year was drawing to a close: he made his first album, saw his records become available all over Europe,
made his television debut, appeared in his first film, and celebrated his first US No.1 single. It seemed inconceivable
that things could get any better, or that the fan fever could grow even more hysterical. But with the release of this, his
second record, Elvis had proved beyond doubt that he was here to stay. And this was just the beginning...

The Men are Rich Samis, Kevin Faulkner, Nick Chiericozzi and Mark Perro. We created Devil Music in our practice space over a weekend in January.

We wanted to give ourselves something enjoyable to listen to with this record...Something that had out personality in it, not just another record to get reviews, to get into festival, to get on TV, to participate in some sort of endless, winless game. This isn't a campaign.

Jordan Lovelace (mem, of Pampers) engineered and recorded Devil Music. Jonathan Schenke ( mem. Of Easter and engineer of 100's of records) mastered the sessions on a Neve console in New York. These fine gentlemen knew we were after a raw four track sound. They Used our strokes on the tape to get us where we wanted to go. Every record sounds a bit different than you think it will.

Some newer things came along for the ride like cassette cut ups, damaged vocal cords from years of yelling, a saxophone and of course the ten new songs. Some old ideas are still in the mix: the tracks were done live, including the vocals. The packaging/artwork was designed and produced by us

Tidal Waves Music proudly presents the re-issue for Nina Simone's 'A Very Rare Evening'. Originally released on PM records in 1979, featuring Weldon Irvine on organ, Don Allias on drums and Jazz legend Gene Perla on bass. Included on these European sessions from 1969 you'll find Nina classics & rare versions of recordings written by Aretha Franklin, Barry Gibb, Randy Newman & Pete Seeger.

One of the most sought after Nina Simone albums is now back available as a deluxe limited vinyl edition for the first time since 1979. Produced by Gene Perla, officially licensed from PM Records & featuring the original artwork created by A.M. Schnider.

"It's her first LP in years, but was taped back in 1969 in Europe with a confident, impressive organ and rhythm section backup band. Simone is an acquired taste. But, for those who appreciate her singing, these eight tracks will prove welcome." - BILLBOARD

Anything by this lady of song is welcome, especially when she's in front of an adoring audience, as she is in these decade-old, never-released sides. Simone covers all bases from Barry Gibb's "In The Morning," to Pete Seeger's adaptation from the Book of Ecclesiastes, "Turn! Turn! Turn!" She gives special meaning to such tunes as the poignant "The Other Woman," the gospel inflected "Save Me," and "I Think It's Going To Rain Today." But the highlight is her own tune, composed with keyboardist Weldon Irvine, Revolution."- CASH BOX MAGAZINE

Though the Simone catalog overflows with live recordings, this 1969 German concert outranks all others. Focusing almost exclusively on then-contemporary material--the Gibb brothers' "In the Morning" and "To Love Somebody," Randy Newman's "I Think It's Going to Rain Today," Aretha Franklin's "Save Me," the Byrds' "Turn! Turn! Turn!"--Simone is at her most assuredly earthy and intrepidly regal.' - THE JAZZ TIMES

6 panel digipack, 2CDs and booklet

Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.

8 panel digipack, 3 CDs and booklet

Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.

For decades, Dylan's performance in Manchester was incorrectly labeled 'The Royal Albert Hall Concert'. Now, for the first time, the REAL Royal Albert Hall concert, originally recorded for a live album by CBS Records, is finally being released. The 2CD will be released on 11th November with the 2LP following on 26th November.

These Systems Are Failing.
All of them. We built great cities. Great industries. Great systems. These systems were supposed to protect us, to free us, but instead they've poisoned our air, killed the animals, butchered the land - and destroyed ourselves. We think we've conquered the problems of food production and wealth distribution, yet we're more miserable than ever.
These Systems Are Failing is the name of my new album. It is my first as Moby & The Pacific Void Choir.
I approached this record like a four year old would approach making breakfast out of everything they like: ice-cream, the dog, their toy cars and toast. I put in everything I like: punk and post-punk and new wave and euphoric rave and yelling.
I played this album to some friends in the music business and they said Um, OK, it sounds pretty angry.' So I went away and made it even angrier. I can't offer solutions, only raise issues.
When some of my middle-aged compatriots try to accommodate the pop market place, the results are so anodyne and depressing. Seeing musicians pretend to be young and relevant makes my organs clench with utter sadness. I'm 50 years old: why deny it

The fruits of artistic compromise are rotten.

These Systems Are Failing was created in Los Angeles. I moved here six years ago and it is the strangest of cities. There is so much emptiness. Darkness too. To the east is the desert, to the west a vast ocean, and in the middle a confluence of cultures. This city's art is odd and its paradoxical aspects are utterly compelling. You can't help but be changed by it.

The Void Pacific Choir takes it named from a DH Lawrence quote: People in L.A are content to do nothing and stare at the void pacific.' Often a void is perceived as a big, dark, scary, weird thing - the dark, malicious, Nietzschean void, where if you stare too long into it, it stares back into you. Therefore, I liked the linguistic paradox of a pacific, peaceful void - a benign emptiness.

Pop music remains an interesting and compelling medium. It's possibly not the best way in which to examine incredibly detailed policy minutiae, but to make music you love while addressing issues that concern you and are not a gratuitous waste of time to the listener is always something to aspire to.

Complex music and complex ideas don't necessarily have to sound complex. Nor do heavy topics have to be an oppressive experience for the listener. They can still sound joyous. Bad Brains sang about the Nazi threat on 'Big Takeover', yet it was pure euphoric energy.

I'm happy to be vague and uncompromising and esoteric. I see the phrase These Systems Are Failing as a starting point for people to look around and ask Which systems does he mean' and then perhaps examine the world around them more closely.

Democracy still works, and technological systems too, so there is hope here too. There has to be.

What's clear though is that our best choices are killing us. We're separated from what we once were. We're destroying the world, and we're still miserable. Fat, sick, stupid, and anxious are no ways to live.
These Systems Are Failing. Let them fail.
Change or die.

*Deluxe CD edition with three bonus tracks and lenticular Sleeve*

These Systems Are Failing.

All of them.

We built great cities. Great industries. Great systems. These systems were supposed to protect us, to free us, but instead they've poisoned our air, killed the animals, butchered the land - and destroyed ourselves. We think we've conquered the problems of food production and wealth distribution, yet we're more miserable than ever.

These Systems Are Failing is the name of my new album. It is my first as Moby & The Pacific Void Choir.

I approached this record like a four year old would approach making breakfast out of everything they like: ice-cream, the dog, their toy cars and toast. I put in everything I like: punk and post-punk and new wave and euphoric rave and yelling.

I played this album to some friends in the music business and they said Um, OK, it sounds pretty angry.' So I went away and made it even angrier.

I can't offer solutions, only raise issues.

When some of my middle-aged compatriots try to accommodate the pop market place, the results are so anodyne and depressing. Seeing musicians pretend to be young and relevant makes my organs clench with utter sadness. I'm 50 years old: why deny it

The fruits of artistic compromise are rotten.

These Systems Are Failing was created in Los Angeles. I moved here six years ago and it is the strangest of cities. There is so much emptiness. Darkness too. To the east is the desert, to the west a vast ocean, and in the middle a confluence of cultures. This city's art is odd and its paradoxical aspects are utterly compelling. You can't help but be changed by it.

The Void Pacific Choir takes it named from a DH Lawrence quote: People in L.A are content to do nothing and stare at the void pacific.' Often a void is perceived as a big, dark, scary, weird thing - the dark, malicious, Nietzschean void, where if you stare too long into it, it stares back into you. Therefore, I liked the linguistic paradox of a pacific, peaceful void - a benign emptiness.

Pop music remains an interesting and compelling medium. It's possibly not the best way in which to examine incredibly detailed policy minutiae, but to make music you love while addressing issues that concern you and are not a gratuitous waste of time to the listener is always something to aspire to.

Complex music and complex ideas don't necessarily have to sound complex. Nor do heavy topics have to be an oppressive experience for the listener. They can still sound joyous. Bad Brains sang about the Nazi threat on 'Big Takeover', yet it was pure euphoric energy.

I'm happy to be vague and uncompromising and esoteric. I see the phrase These Systems Are Failing as a starting point for people to look around and ask Which systems does he mean' and then perhaps examine the world around them more closely.

Democracy still works, and technological systems too, so there is hope here too. There has to be.

What's clear though is that our best choices are killing us. We're separated from what we once were. We're destroying the world, and we're still miserable. Fat, sick, stupid, and anxious are no ways to live.

These Systems Are Failing.
Let them fail.
Change or die.

#TheseSystemsAreFailing
thesesystemsarefailing.com

Moby & The Void Pacific Choir.
Los Angeles, California. 2016.

These Systems Are Failing.

All of them.

We built great cities. Great industries. Great systems. These systems were supposed to protect us, to free us, but instead they've poisoned our air, killed the animals, butchered the land - and destroyed ourselves. We think we've conquered the problems of food production and wealth distribution, yet we're more miserable than ever.

These Systems Are Failing is the name of my new album. It is my first as Moby & The Pacific Void Choir.

I approached this record like a four year old would approach making breakfast out of everything they like: ice-cream, the dog, their toy cars and toast. I put in everything I like: punk and post-punk and new wave and euphoric rave and yelling.

I played this album to some friends in the music business and they said Um, OK, it sounds pretty angry.' So I went away and made it even angrier.

I can't offer solutions, only raise issues.

When some of my middle-aged compatriots try to accommodate the pop market place, the results are so anodyne and depressing. Seeing musicians pretend to be young and relevant makes my organs clench with utter sadness. I'm 50 years old: why deny it

The fruits of artistic compromise are rotten.

These Systems Are Failing was created in Los Angeles. I moved here six years ago and it is the strangest of cities. There is so much emptiness. Darkness too. To the east is the desert, to the west a vast ocean, and in the middle a confluence of cultures. This city's art is odd and its paradoxical aspects are utterly compelling. You can't help but be changed by it.

The Void Pacific Choir takes it named from a DH Lawrence quote: People in L.A are content to do nothing and stare at the void pacific.' Often a void is perceived as a big, dark, scary, weird thing - the dark, malicious, Nietzschean void, where if you stare too long into it, it stares back into you. Therefore, I liked the linguistic paradox of a pacific, peaceful void - a benign emptiness.

Pop music remains an interesting and compelling medium. It's possibly not the best way in which to examine incredibly detailed policy minutiae, but to make music you love while addressing issues that concern you and are not a gratuitous waste of time to the listener is always something to aspire to.

Complex music and complex ideas don't necessarily have to sound complex. Nor do heavy topics have to be an oppressive experience for the listener. They can still sound joyous. Bad Brains sang about the Nazi threat on 'Big Takeover', yet it was pure euphoric energy.

I'm happy to be vague and uncompromising and esoteric. I see the phrase These Systems Are Failing as a starting point for people to look around and ask Which systems does he mean' and then perhaps examine the world around them more closely.

Democracy still works, and technological systems too, so there is hope here too. There has to be.

What's clear though is that our best choices are killing us. We're separated from what we once were. We're destroying the world, and we're still miserable. Fat, sick, stupid, and anxious are no ways to live.

These Systems Are Failing.
Let them fail.
Change or die.

#TheseSystemsAreFailing
thesesystemsarefailing.com

Moby & The Void Pacific Choir.
Los Angeles, California. 2016.