Keith Spillett
I have a lot of strange debris rattling around my mind that I need to work out in a useful way.
Homepage: https://tyrannyoftradition.wordpress.com
1309 Words With Richard Vaughn and Conor Riley From Astra
Posted in People Who Were Willing To Speak To Me, Uncategorized on April 18, 2012
Every once and a while, a truly mesmerizing record comes along, drags you out of the murky depths of an afternoon and elevates your spirit to heights you forgot it could reach. The power and scope of Astra’s new record “The Black Chord” is capable of providing the listener with just such an experience. The first journey through the album connects you to a serene place within your mind where all the limitations and barriers provided by the physical world cease to be relevant. Towering, primordial rhythms hypnotize the listener into a profound stupor. It’s more than a 70’s styled progressive rock album; it’s the musical equivalent of Satori.
Hearing such an exquisite piece of music made me extremely curious as to the creative minds that brought it into being. Richard Vaughn and Conor Riley were kind enough to give Tyranny some insight into their creative process last week. They both contribute vocals on the recent album, as well using enough obscure musical equipment to keep Robert Fripp entertained for the better part of a century. Here’s a look inside their heads….
Tyranny: What does the name Astra mean to you?
Conor: It was named after an album written by a South African band named Freedom’s Children. It’s a cosmic/spacey epic that we felt described our music.
Richard: Yes, our name was originally inspired by the South African band Freedom’s Children. Their second album from 1970 entitled Astra has long been a favorite of ours. Also, the phrase “Ad Astra” is a Latin phrase meaning “to the stars” and seeing that we all find some inspiration in astronomy, science-fiction and cosmic music of all sorts, we found Astra to be a perfect fit.
Tyranny: What is the experience of playing music like for you?
Conor: It combines many different elements. When playing with the right musicians in the right frame of mind it can be transcendent, cerebral, emotional and spiritual.
Richard: For me, playing music is very rewarding on many different levels. When a song finally comes together or a new part or riff is suddenly discovered during a jam, I always a feel this great sense of accomplishment and excitement. Playing music has also been very therapeutic for me. Like many people, I’ve gone through difficult times in my life and I’ve had to deal with some dark and heavy issues. Being able to get away and play, to escape within the music, really helped me to heal. Sometimes when we play as a group, during long, instrumental jams, I find myself in an almost trance-like, meditative state where I can just drift off.
Tyranny: What is the point of creating art?
Conor: I’m not sure that there is a point. I’m not sure that there’s a point to anything really. I think as humans, art is way to try to make sense of our existence and individuality. I don’t think it’s working; it seems to be pulling us in the contrary direction.
Richard: I would think that the reason for creating art would be to get that particular voice, sound or vision out of one’s head and into the physical world, to express one’s self and to be able to see or hear their vision fully realized. For me, sometimes a melody or an idea will pop into my head or I could be listening to music and I’ll get a sudden urge of inspiration from what I’m hearing and I’ll need to stop what I’m doing, pick up my guitar and see where it goes. The thing is, the actual reason for creating art could be unique for everyone.
Tyranny: What limitations do you face in putting forth your full creative vision?
Conor: We are only limited by the biases of each other. As a whole we don’t hold anything back. Within the band we all have different views and musical tastes which doesn’t allow us to stray too far.
Richard: A great thing about our label Rise Above Records is that they allow us full creative control of our music and they have never set any limitations on what we can do. Like Conor said, the only real limitations we have are the mutual criticisms, tastes and visions each of us has for our music within the band. We work together for the good of the music and sometimes that means shooting down an idea or reigning in a particular direction. We’re very honest with each other.
Tyranny: What influences, be they musical, literary, or of any other medium, have helped you find your creative voice?
Conor: Musically, I am most influenced by bands like Aphrodite’s Child, Freedom’s Children, Genesis and Comus.
Richard: There are just too many to name! Musically, Aphrodite’s Child with their double LP 666 is still right up there towards the top of my list and has been for a long time. Everyone in the band has a special place in their heart for that album. There’s also Genesis, King Crimson, Yes, Mahavishnu Orchestra, Magma as well as a long list of early 70’s Italian prog bands, Krautrock, electronic music and even a lot of late 60’s psych rock and folk. I seriously could go on and on. What’s great is that, while we all love most of the same music, we each tend to gravitate towards our own specific favorites. The variety of all of these influences is very beneficial to our songwriting and sound.
A book I read recently was a direct influence on the last song of our album. This sci-fi novel was published in 1969 and was written by Brian Aldiss. Entitled “Barefoot in the Head” it’s a futuristic, post apocalyptic tale of a world wide “acid head war” waged with PCA(Psycho-Chemical Aerosol) bombs. The aftermath left most of the world permanently dosed on LSD. As the main character is increasingly exposed to the drug, the narration and dialog become more and more fractured by mutating words, puns and phrases. I borrowed this writing style for the lyrics and used the influence of the book as a kind of metaphor for feeling as if you’re losing your mind. I was feeling this way around the time I was writing that song. This is good example of how music can be therapeutic for me.
Tyranny: Salvador Dali once said, “Confusion is the best form of communication”. What are your thoughts on this quote?
Conor: Maybe he was trying to say that by being confused it forces you to think critically to grasp for a deeper understanding. Perhaps sometimes that is the best way to convey a point.
Richard: To me organization seems to be too simple, too linear or one dimensional and may only carry a single message. Chaos and confusion can be much more memorable by requiring a deeper thought process allowing for people to draw their own conclusions or to gather their own thoughts and meanings.
Tyranny: What do you believe would be the highest complement you could possibly receive?
Conor: Plagiarism and illegal downloads.
Richard: Knowing that our music directly inspired or influenced someone in one way or another to do something creative or important. To do something positive. That would be a great complement.
Tyranny: If you could be trapped inside one song for the rest of your life, what would it be?
Richard: That would be a living hell! Trapped inside one, single song for the rest of my life, over and over again? I think that would be enough to drive a person mad. Don’t get me wrong, of course I absolutely love music but I do need to take a break from time to time. Once in a while I won’t even listen to any music for up to a week or more. A break like that can be very refreshing and it makes me appreciate music that much more when I come back to it.
Honest Validation of Unfair Cheese: Slayer and The Perils Of Free-Market Fanaticism
Posted in Articles I Probably Shouldn't Have Bothered Writing on April 12, 2012
In Slayer’s song Blood Red, singer Tom Araya bellows forth a challenging and powerful lyric that cuts to the core of today’s debate between a managed, centralized economy and a free market system where the “invisible hand” balances the wants and needs of the consumer against the production capabilities of the market. When he shrieks “Honest validation of unfair cheese” at the 41 second mark of the song, it is clear that he is undercutting a basic free-market premise posited by thinkers the likes of Milton Friedman and Frederick Hayek. The words are enlightening and deeply meaningful, particularly for an electorate on the cusp of deciding what sort of financial decisions it plans to make as it marches forward into a new millennium.
In order to understand the meaning behind Araya’s lyric, it is first critical that we understand the meaning of “unfair cheese”. Nothing is more disappointing to a lover of cheese than when, upon returning from the supermarket, a shopper finds moldy, poorly preserved cheese in their bag. Who is supposed to ensure the consumer is safe from a flood of this “unfair cheese”? If the supermarket is left to its own devices, it might well sell all the out of date cheese it could possibly get away with. After all, as Buddy Holly said in his 1981 hit song “Who is watching the detectives?” In this case, maybe we need someone to even watch the people who are watching the detectives. Or, it is possible we may need to hire detectives to watch the detectives who are watching the detectives.
Back to the cheese thing. If it weren’t for the Better Food and Cheese Act of 1938, under the esteemed and underappreciated Presidency of Franklin D. Roosevelt, humans would be consuming pounds upon pounds of rotting, vile cheese. The Act empowered the police to arrest and jail any store clerk found selling “unfair cheese” for a period no less than five years in prison. Higher quality cheeses began to appear. Productivity flourished. It was during this period that Gorgonzola cheese was first produced in a laboratory. It was originally meant to be used as a weapon against the Soviet Union, but later it became appreciated for its velvety texture and tangy flavor. In the preceding two hundred years, America’s cheese growers had not produced as much as a single new breed of cheese.
So, when Araya asks for “honest validation of unfair cheese”, he’s really questioning whether a purely free market can produce the quality goods needed in a modern economy. Sure, it’d be nice to believe that the market is such a perfect force that can correct itself and keep the desires of its members in line, but it’s this sort of utopian thinking that caused the Great Wall of China to fall in 1990.
We cannot simply rely on market forces to purify the market. Human nature tells us that humans, in a perfect state of nature, will do some really unnatural things. In short, only a neutral arbitrator with no stake in the outcome can possibly make decisions that protect the consumer.
Only when the positions of these regulators are depoliticized and not influenced by corporations or individuals with expensive cars will we truly see an “honest validation of unfair cheese”. Only then will children of all races and all creeds, of all nationalities and all socio-economic backgrounds, of all hair styles and all blood types be able to sit down at the table of friendship together and eat the same safe and healthy cheese. Only then will we truly be free.
On An Easter Egg Hunt With The Cancer Bats
Posted in Articles I Probably Shouldn't Have Bothered Writing on April 8, 2012
So there I was, participating in that most shameful American rituals, the Easter Egg Hunt. Swarms of children knocking each other over, screeching at the tops of their lungs in the desperate hopes of laying their greedy little mitts on as many plastic eggs as they possibly can. The whole exercise functions as a wonderful metaphor for American style consumer capitalism. A bunch of wild-eyed humans released upon an uneven field with the goal of filling their baskets with as much stuff as possible. Sure, everybody gets something, but those who are bigger, stronger, faster and, most importantly, start at the front of the line tend to get more. All the while, this being a function of one of the local mega-churches, crackpot religious explanations are given for nearly everything.
“You know who really put these eggs out here, son? Jesus Christ. See, he works through us. Remember that when you are eating those Skittles,” muttered a used car salesman looking church elder with game show host hair.
It was around that moment that I realized that if I didn’t put my headphones on immediately and listen to something angry I was going to tear my shirt off and run around howling like Lon Chaney. These were the exact conditions under which I came into contact with the new Cancer Bats album “Dead Set On Living”.
I should admit up front that this hardcore punk metal hybrid thing never really did much for me. Around the time Hatebreed and Converge were coming out I was busy trying to prove to the world that I was so metal that unless it came out in Europe, was from a band that had been around since Carter was President or had been approved by at least six members of the Central Committee that I couldn’t be bothered it. It is really a shame, because I missed some pretty intense music and probably would have been easier to be around had I been a tad more open-minded.
Listening to the driving groove of the opening track “R.A.T.S” while watching a husky five-year-old girl rip an egg out of the hands of some pigtailed three year old seemed particularly fitting. The whole scene was menacing. The tone of the album helped me imagine the children turning into brain-thirsty zombies. Somehow, instead of the eggs being filled with the sugar-laced, sunshine of God’s love, they were contaminated with some CIA tested drug that morphs children into predatory beasts.
The Cancer Bats singer Liam Cormier takes some getting used to. He’s of the high pitched death wail school, which usually makes me a bit edgy. It gets better as the album goes on, particularly because he offsets it from time to time with an almost David Lee Rothian snarl. The guitars are what really what grab you. They tend to create short, punchy, memorable riffs that carry you endlessly forward and flow from a nearly bottomless pit of energy. About three listens to this record are all you need to be thirsting for it every second of the day.
Meanwhile, the kids began to get this panicked look around the time they realized the eggs were nearly gone. Something like the expression they’ll have in twenty years when they are sitting in their car waiting to get gas for three hours. I cranked the music louder steeling myself for some sort of toddler riot. I knew I could handle a few of them, but if the whole group turned on me they’d tear me to ribbons. Finally, mercifully, the eggs had all been collected and the mob was redirected with little violence towards a sea of bouncy castles in the church parking lot.
The whole experience was perplexing for me. Here I was, surrounded by all that is supposedly good and right with the world. Except every bit of it felt dirty and degrading. The only thing that seemed remotely moral to me was the driving rhythm of the music in my headphones. I sunk into a moment of genuine despair as I realized that I might never be able to reconcile my values with those of my culture. Maybe I was an alien. Maybe I was simply wired wrong. Would I ever be able to understand how people could find joy in moments like this? Then, out of nowhere, my beautiful three-year-old daughter took my hand, looked at me and smiled. And everything was okay.
Lemmy Has Surgery To Remove Both Livers; Plays Concert That Night
Posted in General Weirdness on April 5, 2012
For most people, having one liver removed is a torturous affair that leaves them with months of painful recovery. Yesterday afternoon, Lemmy Kilmister became the first man to ever have both livers removed at the same time. The marathon 6-hour surgery was followed by a half hour of recovery, dinner at a local bar and a 2-hour set of classic Motorhead tunes at The Rock Center, a metal club in downtown Pocatello, Idaho.
Doctors advised Lemmy to take at least three months off from performing, but his commitment to playing heavy metal was too great to hold him back. “I didn’t want to let the fans in Idaho down. After all, what do they really have to live for beyond the occasional concert?” said Lemmy this morning during his 3-hour weightlifting session.
Lemmy is no stranger to overcoming medical emergencies and soldiering on. Everyone is, of course, familiar with the time that in 1983 in Antwerp, Belgium he was mauled on stage by 15 pit bulls and continued to play his bass in spite of missing 9 fingers.
Who could forget the time the Chinese government accidentally detonated a nuclear bomb at a test facility 1,000 meters away from a Motorhead concert in Shanghai in 1988? Everyone within a radius of 12 miles was killed except Lemmy, who went on to play the entire Orgasmatron album from beginning to end to an arena filled with annihilated corpses.
However, because of Lemmy’s advanced age, going on stage after a surgery of this type may be his greatest feat.
Doctors are baffled as to how a man who has done so much damage to his body continues to exist. There were rumors as recently as 2003 that he was killed and replaced by a Lemmy-like robot, but several doctors have done independent tests to prove that he is a human. There was also rampant speculation that Lemmy has regularly been shooting the DNA of famed Russian monk Rasputin directly into his arm in the hopes of becoming indestructible, but this also has not been confirmed.
Some researchers have reasoned that it is possible that consuming the amount of Jack Daniels that he has ingested over his lifetime has actually made his body impervious to harm of any kind. Regardless of what his secret is, it is very possible that Lemmy cannot be destroyed by traditional means and will live on well into the next millennium.
















