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dapper cadavers

by ANAZANAUT

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1.
motion 04:00
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2.
violins 04:00
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violins are everywhere violins are everywhere play me a tune on your violin violins on TV violins on radio violins in movies violins on your stereo I’m climbing aboard the Orange Blossom Express looky yonder comin’ looky yonder comin’ looky yonder comin’ violins are everywhere coming down the railroad track I’m climbing aboard the Orange Blossom Special I’m climbing aboard the Orange Blossom Special I’m climbing aboard the Orange Blossom Special Special… violins are everywhere violins are everywhere violins are everywhere
3.
commuter 04:00
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4.
factory 04:00
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5.
responsible 04:00
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6.
fixtures 04:00
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oh these empty walls full of objects and memories but they still look empty to me… to me… oh these empty people full of words and fantasies but they still sound empty to me… to me… all these dead fixtures hang around my neck like an albatross, but I’m not done yet oh the empty buildings full furniture and families but they still seem empty to me… to me… all the empty heads, all the things they’ve never said no wonder they feel empty to me… to me… all these dead fixtures hang around my neck like an albatross, but I’m not done yet
7.
nothing 04:00
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8.
dread 04:00
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9.
hills 04:00
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10.
diaries 04:00
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about

THE DEAD STAY DEAD

There is a vast amount of mythology founded on the conception that death is not truly the “end” of life. Innumerable systems of belief, ethics and morality are built around this concept and used as a means to justify all manner of abuses of power. Religions thrive because gullible, ignorant masses can be convinced that their suffering in the “here and now” is a price being paid for an eternity of contentment, security and reward. It is, perhaps, the greatest con-job ever perpetrated, given it has persisted for so long and continues to be accepted by vast majorities of peoples in wide ranging cultures around the globe. It survives because the fear of the unknown remains the greatest incentive by which to manipulate and coerce populations, whether minute or vast in number. As we witness the declines of our civilizations, be aware that a root cause of the betrayals which have made this situation possible stems from our refusal to come to terms with our mortality. Our insistence on living in a perpetual state of denial provides a fertile breeding ground for the unscrupulous to perpetrate their crimes. We can never achieve any true enlightenment, liberty or justice so long as the delusion of an "after-life" forms the foundation of our societies. As long as the value of THIS life is mitigated by a belief that its stakes can be negotiated into some transcendent existence, there is no hope for a reversal of our fortunes.

credits

released November 11, 2022

THE BEGINNING IS THE END

Throughout all personal manifestations of the creative process, the concept of “versions” of pieces has been limited to the finished work with no recourse to “drafts”, “demos” or “scratch takes”. This approach goes back to the very earliest artistic expressions. In high school art classes, the instructor would insist on students creating a set of thumbnail sketches before moving on to the main canvas. This felt like a redundant and pointless exercise because, invariably, the first sketch always became the painting and the other sketches were merely an indulgence to placate the instructor. The end goal was readily apparent and no musing over alternatives was necessary, only serving to waste time. When creating music, the same approach was applied; try to get it in one take, or as few as possible, and whatever ended up on tape/disc was the final work. This process resembles a type of Japanese rice paper painting which demands the discipline to commit to a stroke and execute it without hesitation because anything less would destroy or damage the paper. With this methodology for the past forty plus years of music production, there have rarely been recordings which could be considered “demo tapes”. If it was recorded, it was considered a finished work and required no further interpretation after its completion. However, it has recently become apparent that some very old compositions, which were recorded with extremely primitive tools and crude, rudimentary techniques, might provide intriguing foundations for some new works. With that in mind, a selection of recordings dating from the early 1980s was identified to function as “demos” in order to inspire this collection of compositions. The current process has sought to revive the essence of the original compositions while elaborating on their conceptual framework by enhancing their arrangements to reflect contemporary tools and skill levels. The results, it is hoped, have illuminated the latent potential of these otherwise antiquated artifacts.

All materials procured, created, manipulated and assembled by ANAZANAUT during the period from May 13 - September 30, 2022 (unless otherwise noted). Ghost town cemetery photographs taken in Gold Bridge, BC, on July 2, 2010. Front cover “haunted house” photo taken at the Pacific National Exhibition, Vancouver, BC, August 30, 2007.

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ANAZANAUT

Walking with the broken rocks upon the heaving thrust of mountain echoes, movement becomes challenged. Something may have taken hold here, but its residue has since faded into the dust of winds long blown away. Though memory shards crack and splinter through the ice age history once foretold, there are now no more than fragments upon a beach receding beyond the breaking waves. ... more

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