Electronic composer and synth pioneer Mills-Cockell on his genre-defying work with Syrinx and Intersystems—early forays beyond pop and psychedelia.
What began as an art project with the overt purpose of confronting and confounding “straight” society ended up as something resembling a pro football game for people on psychedelics, and nearly as profitable.
“I still seek for eternity, which maybe is like a rainbow-colored butterfly flying away, suddenly in front of your face.”
Performance, improvisation, and chasing the perfect drone.
“I do like feedback. It’s good for people. It is!”
Meg Remy of US Girls talks to the former Sic Alp about anger, publicity, lyrics, and Roald Dahl.
1. On the twenty-first birthday of a poet, ostensibly of our group, whom we knew as Nayf (his real name’s not so very important)—on June 20, 1997, to be precise—the activist Radwa Adel went to visit a relative in one of Cairo’s neighborhoods.
The Clean, The Heavy Eights, The Bats, and smoking hash with Alex Chilton.
Brandon Shimoda dives into travel, dragon’s whiskers, the poetry of decision-making, spirits-within-spirits, and city versus country.
BURNAWAY Magazine’s Rachel Reese visits Steven L. Anderson’s studio to discuss the Deleuzian escape nature offers, and the ethical guidelines to channeling power through art.
“When we walk around with all this weight on our shoulders, we justify our boots.”
“Wow, that’s quite a baroque nightmare happening there on your wall … . It’s petrified dragon skin, right?” I’m imagining dinner guests arriving at some home where Daniel Wiener’s acid-trip sculpture Flame Meander is threatening to crawl down and fuse with someone’s spinal column.
Laurie Weeks’s Zipper Mouth takes readers on a mind-bending journey through the body’s ins and outs. Weeks talks with Jennifer Coates about the novel’s psychedelic dimensions and the creative parallels between writing and growing plants.
Combining art, ’80s music clichés, advertising strategies and analog synthesizers, Oneohtrix Point Never, aka Daniel Lopatin, creates experimental ambient music.
The style of Unknown Mortal Orchestra is at once new and incredibly varied, ranging from funk to psychedelia to garage riffs to surf vibes.
The first painting I ever saw by Michael Williams was called Hippie. I was in Miami for the damn art fair where I had some work up in the year of the absolute worst economic climate—2008?
I enter Katharina Grosse’s latest installation at MASS MoCA and I am awed by the sheer dimension of the piece and by the intensity of the encounter.