Friday, January 26, 2018

IAO Core::: Into the Water

IAO Core Cruciferous Vegetable Amplification Part One

IAO Core Immersive Theater Lab: Live in Paris July 2015

Iao Core:: GLOBE OF FROGS from the album Dopamine Jackpot

"Dancing About Architecture": from the album Days of Future Past 42nd Street

Dancing About Architecture: from the album Days of Future Past 42nd Street
8 minutes 14 seconds.

The title comes from the quote
"Writing about music is like dancing about architecture."
Laurie Anderson, Steve Martin, Frank Zappa, Martin Mull,
Elvis Costello, Thelonius Monk, Clara Schumann, Miles Davis, George Carlin and several other people
have been credited with concocting this extraordinarily popular and enigmatic simile.
The first cite known to The Core appears in a magazine dedicated to the history of rock and roll
called “Time Barrier Express”. The September-October 1979 issue contains a profile of the group Sam & Dave by Gary Sperrazza in
which he
discusses the interplay and rapport of the duo [TBEM]:

All quick, very natural, and captured on vinyl. It’s so hard to explain on paper, you’ll just have to find
the records and listen for yourself (because I truly believe — honest — that writing about music is, as
Martin Mull put it, like dancing about architecture).

The second earliest cite was found by Mike Kuniavsky who presented
a pointer to its location in a comment. In December 1979 “Arts Magazine” published an article about the painter Michael
Madore by the critic Thomas McGonigle. The saying is attributed to Martin Mull; however, the domain of the quotation
is knowingly transformed to painting. Even in 1979 McGonigle refers to the expression as a “famous dictum” [AMTM]:
So with Madore we have the classic situation: no limits, thus all limits, or to slightly alter the
famous Martin Mull dictum: Writing about painting is like dancing about architecture. Based on current evidence The Core
believes that Martin Mull is the most likely originator of this expression. It is not clear how Gary Sperrazza and
Thomas McGonigle heard or read about the quotation. Mull did release several albums combining comedy and music in
the 1970s. He also appeared in the television soap opera parody “Mary Hartman, Mary Hartman”, and the talk show
parody “Fernwood 2 Night” (later renamed “America 2-Night”). It is possible that he used the phrase in one of these
venues, or perhaps he said it during a stage performance or interview. Researchers have been attempting to trace this
well-known saying for many years. It is a recurrent topic in discussion forums and on mailing lists. Alan P. Scott was
the key pioneer in this endeavor, and he has created a wonderful webpage that records his gleanings and includes a
comprehensive list of people that have been credited with the quotation [APSM]. The clever maxim was probably not created
ex nihilo. The Core has found similar expressions that date back to 1918. There is a family of related sayings that
comment about such difficult exertions as: writing about music, talking about music, writing about art, and talking
about art. This backstory helps to illuminate the aphorism, and it begins with a remark involving “singing about

The earliest statement that The core has located that discusses the inherent difficulty of writing about music and
compares it to singing about something is dated February 9, 1918 in the New Republic [NRSE]:
Strictly considered, writing about music is as illogical as singing about economics. All the other arts can be
talked about in the terms of ordinary life and experience. A poem, a statue, a painting or a play is a representation
of somebody or something, and can be measurably described (the purely aesthetic values aside) by describing what it
represents. In 1921 the remark reappears in the form of a sphinxlike simile. The format of the comment uses the word
“like” once and the word “about” twice. This conforms to the most common modern template.

"So anywho, I don't remember where I first heard it" I said. "I have been working the theme in my head for a decade and I always felt that it was not only possiblebut was the real deal, and my final say is on the Iao Core album "Days of Future Past 42nd St."
The opening and closing riff is Brainstorm, a classic Hawkwind song from the 1970's. When the Edobot sequence begins I
overlayed three lead guitar tracks that fugue through the song, all on my Stratocaster, one with E-Bow driven melodic spray

Thursday, July 13, 2017

Saturday, July 1, 2017

Sunday, June 4, 2017

Monday, May 29, 2017

Sunday, May 28, 2017

live at mosswood mothers day....

Usually Sunday afternoon’s conjure images of Footballerinas bashing heads and tackling one another in exquisitely choreographed, fiercely competitive dances on stadium astroturf. But not this Sunday afternoon. First of all it’s Mothersday. The IAO Core show on Mothersday was not announced or advertised and came as a complete surprise to those enjoying their Mothers in Oakland’s Mosswood Park. By the Time the second set started just before sunset, the crowd had swelled to at least 800 people, filling the meadow as well as the redwood lined amphitheatre. Of course the first set began with the familiar melody of The Waltzincore, performed on Grand Piano, and the notes seemed to drift into the spring air and become part of the over-all spring ambiance, drawing passers by to the amphitheatre at the back of Mosswood and then…..Boom…the show started with the psychedelic guitar chug of Your Gold Dress, a song the band hadn’t played onstage since 1993, and half way through it, suddenly we are listening to Space Chase, an obscure prog rock Hawkwind song from the 70’s…then flawlessly back into the last two verses of Your Gold Dress. The Intense three part vocal harmony factor was in effect. Repopes repossess souls and bless automobiles. Stratagemologists affect the outcome of wars by the cutting of stones.But the Iao core are like Prostitutors, they give private lessons to students aspiring to a degree in copulation. “All the Animals Lie Down” from the Raven album is next. E-bow guitar from Johannes and when the E-bow emerges from the maestros pocket…boom.. There goes another crocodile!!!!. It’s behind the stove. It will never know the joys of getting a driver’s license or seeing its grandchildren walk the plank. Once again the big, heavenly sound of the Grand Piano, they dragged out to the amphithetre pays back big time and the notes seem to tickle and tease the ear of the deep listener. This time it’s the Legendary Pink Dots song Damien (Johannes has been quoted as saying “It… (Damien) …is in everyway perfect because it has been delivered from the lust of result”) filling the meadow, drifting up into the spring air and becoming (like pollen, or military grade Anthrax) part of the over-all spring thang, drawing passers by on the astral plane to the amphitheatre at the back of Mosswood in Oakland California North America Earth and then…..BoomThe warm distortion of a Stratocasting “Faster than a Shark”…ridiculously fast melodic metal riffage, Germanic like a finely honed four stroke BMW or Porsche engine on the autobahn at 4:30 a.m. High Dee High Dough Indeed. And then…is that Rimi playing Bass., Narchitects design houses in their sleep. Farmermaids plough underwater fields with their tails. Surgeontologist Rimi ghose uses her bass like a scalpel to examine the nature of Being. Whoa it’s back to the late sixties and it’s One, Two, Free, Four. Yes The Floyd classic from Obscured by Clouds. It always puts me in a Chelsea drugstore zero hour nine a.m. my favorite flavor cherry bombs away from here….Wait I’m confusious….are they playing “It Could be Sunshine” from the Bauhaus born Love of Rockets catacomb? Yep. Delightful. What next? Sterling covers of two Bill Nelson Whirling Love dervishes(Illusions of You, Hope for the Heartbeat*) Yep. Sweet. suddenly the voluptuous terror gives way to splendor and we are listening to Brainstorm, a Hawkwind song from the 2270’s flawlessly executed ( blunt force to the back of the head, then back into the Intense three part vocal harmony factor effect. Some more. Derangers are paid to go berserk in national parks. Pachydermatologists examine hides and offer cosmetic tips to elephants, rhinos and the like. Iao Core are automated machines that study plants. The T-Rex chestnut “The slider” is next and this time features drummer Terence Owsley’s spot on Marc Bolan lead vocal. As I listen to this for the umpteenth time, I’m wondering,”do you suppose this song is about sex?” and the I remember hearing Johannes speak of the dseep connection between IAO Core and sexual intercourse.“In the sweaty, passionate, filthy embrace, in all of its delicious and time-dissolving power, in the midst of that embrace there is no difference, no separation between the spiritual and the profane. But it’s reached through the profane rather than through the spiritual, at least in my canon. That is the portal, that is the door into the whole affair. In that moment there is no separation, there is no spirit and flesh, there’s no conflict, there never was. It’s dissolved.” “Death is not the end” finishes the first set. It’s a Bob Dylan song left in the hands of experts. Accidentists remove your teeth by mistake. But Lexiconjurors like Iao Core’s Ayres and Dawn, tap their wands and pull the words right out of your mouth. As the sunsets and Iao core’s first set is ending I feel it incumbent on me to invite you to read my review of the second set, which is scheduled to take place inside the mosswood herring factory and amphitheatewr this evening after dusk. You needn’t dress in any but the most perfunctory manner nor bring any crickets (there will be plenty of those!) as I myself will be wearing but a thin military camisole from the pelvic region upwards and will be toting a gecko or two.