paint it black

The club is a well of darkness, a claustrophobic space thick with anticipation. One spotlight falls on the center of the bare stage. Slowly, as a devotee to an altar of his own construction, a man approaches, steps into the white pool of light. He is small, of indeterminate age, but clearly nearing or just past fifty, almost painfully thin. He wears black. All black. A long-sleeved shirt, pants, shoes with long, pointed toes. A few bulky silver rings adorn his fingers; some sort of necklace hangs around his neck. His face is nearly invisible behind long, thick bangs, a curtain of hair which frames his face hanging past his shoulders nearly to his stomach, and huge, opaque wraparound sunglasses. He holds an all-black guitar, cradling it in both arms as though it is almost too much for him to carry.

Phil Freeman (October 1999)

Black is real sensation, even if it is produced by entire absence of light. The sensation of black is distinctly different from the lack of all sensations."

Hermann von Helmholtz

Tecnosterona, 12 de Janeiro de 2008

Lost Aaraaff, "Lost Aaraaff";
Fushitsusha, "The Caution Appears";
Alan Licht & Keiji Haino, "Gerry Miles";
Fushitsusha, Allegorical Misunderstanding;
Keiji Haino & Tatsuya Yoshida, "Until Water Grasps Flames"
Keiji Haino & Tatsuya Yoshida, "New Rap"
Keiji Haino, "Black Blues"
Keiji Haino, "Beginning and End, Interwoven"
Peter Brötzmann & Keiji Haino, "Evolving Blush or Driving Original Sin"
Knead, "1st"

Tecnosterona, 12 de Janeiro de 2008

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