“Satie wrote six Gnossiennes in all, the first three in 1890 and the remainder during the next seven years. The name “Gnossienne” refers to the palace of Knossos on Crete, which was being excavated at the time the pieces were written. Satie’s pieces contain his characteristic witty commentary and directions to the pianist: instructions such as “wonder about yourself,” “don’t be proud,” “with amazement,” and “lightly, with intimacy.” These short, simple piano works, with overtones of Romanian folk ensembles and Gregorian chants, predate Satie’s famous “Gymnopedies.”
Eric Satie (1866-1925) studied at the Paris Conservatory and supported himself in his early years as a cafe pianist. His early works used simplicity, repetition, and original, modal harmonies to evoke the ancient world. These early works (Gymnopedies and Gnossiennes) had an influence on Debussy who, along with Ravel, brought Satie to the attention of the general public by performing his piano pieces in concerts. Cocteau admired Satie’s modest, absurdist works and the two collaborated with Picasso and Massine on Parade for Diaghilev’s Ballets Russes in 1917.”
“There Existed an Addiction to Blood, turns the framework of horror on its head. Fear runs rampant across each track, but instead of channeling nightmares through imagination, the L.A. experimental hip-hop trio show us the terrifying nature of our own kind.”
“Peggy Gou is a Berlin-based South Korean DJ, record producer, and fashion designer. She has released seven EPs on record labels including Ninja Tune and Phonica. In 2019, she launched her own independent record label, Gudu Records, and released a DJ-Kicks compilation, DJ-Kicks: Peggy Gou, on !k7 Records.” Wiki
“The “Blood of the Fang” visual is inspired by a photo of Huey Newton — co-founder of The Black Panther Party for Self-Defense — hand-cuffed to a hospital gurney while being treated for a gunshot wound in the abdomen after a gun battle with Oakland police in October 1967.
The song itself is built around a sample from Sam Waymon’s score to the 1973 experimental vampire film Ganja & Hess. Daveed Diggs’s lyrics conjure an alternate history of black political struggle in the 1960s and 70s, name-dropping radical activists and reimagining them as a pantheon of undead superheroes fighting against systems of oppression.”
“DADDY is a spotlight for my mother’s talents in performance and dance. Through the efforts of many, it became a stage for she and I to remember, to negotiate, to duel, to release. Somewhere in-between filmmaking and rapprochement, we met there to dig up some things, to bury others, and to be in the light together.” More