The Legendary Pink Dots collected cataclysms in the dark, dense drapery of this terminal kaleidoscope. The experimental group had formed in 1980 in London and moved to Amsterdam, spending the next decade exploring a progressive, industrial, electronic, post punk, ambient psychedelia. After sixteen studio albums (Only Dreaming and Kleine Krieg in 1981; Brighter Now, Atomic Roses, Premonition, Apparition, and Basilisk in 1982; Chemical Playschool 3 & 4 and Curse in 1983; The Tower in 1984; Asylum and Prayer For Aradia in 1985; Island Of Jewels in 1986; Any Day Now in 1988; The Golden Age in 1989; and Four Days in 1990) and several live albums (The Lovers, Dot-To-Dot, Traumstadt 3, and Greetings 9) on over twenty different record labels (Mirrordot, Jarmusic, Terminal Kaleidoscope, 235, In Phaze, Art Nouveau, New Europeans, Play It Again Sam, SPV Poland, Soleilmoon, Illusion Productions, Flowmotion, Ding Dong, Third Mind, Beta-lactam Ring, Staalplaat, Big Blue, Cacciocavallo/Soleilmoon, Bain Total, Teddy Bear Music, Materiali Sonori, and Wax Trax!), their next album 'Crushed Velvet Apocalypse' added Caroline Records to the list.
Produced by The Legendary Pink Dots with engineer Hanz Myre at Studio Klaverland in Utrecht, Netherlands and glass mastered at DADC in Austria; 'Crushed Velvet Apocalypse' credits Qa'Sepel (Edward Ka-Spel) on voices and keyboards; The Silver Man (Phil Knight) on keyboards, samples, devices, and percussion; Bob Pistoor on guitars, sitar, and bass; Neils van Hoorn on flute, saxophones, and bass clarinet; and Hanz Myer on electronics, oboe, and tymphanis. The cover was done by Stephan Barbery.
Edward Ka-Spel would express: "If you look at history, the one thing that's certain is that events are accelerating. Things are changing faster and faster, like a ball rolling down a mountain. Our idea is that if things continue to accelerate at this rate, eventually we'll reach overload, cataclysm. We want to provide the relevant soundtrack to this process. Our sound is like this immense cocktail, saturated with all these elements of past music jumbled up with the absolutely modern, like sampling and synthetics. But we aren't pessimistic about this impending cataclysm. We belive that we're living through the most significant time in the history of the planet, and we should cherish the things we see and feel in these most exciting times. That's why our catchphrase is "Sing while you may!" And that's why our new album's called 'The Crushed Velvet Apocalypse'. Apocalypse can mean simply change. Its like the death card in the Tarot: it doesn't mean death, it means drastic change...I don't know if these changes are gonna be for the good or the bad. I don't pretend to be any kind of sear or visionary. I just know that all kinds of philosophies, like Nostradamus, are pointing to the 30 years up to the year 2000 as being a time of great transition. Some point towards a Golden Age after it. But there's beauty even in the darkest things. The reason why sunsets are so beautiful these days is because of all the pollution. If you look at a river that's been chocked with oil, it "is" beautiful. It's the strange twist in the tale. And I try to take all these things that are happening today, and take them to their ultimate. I don't believe in the annihilation of mankind, but I do believe in mutation."
Ka-Spel says: "I never like to talk of influences, cos they tend to be subliminal rather than overt. But to be hones, those German groups are what I still listen to the most, because they just went so "far". So few bands go that far. A band like Nurse With Wound, who I really like, maybe go that far out. But I can't think of too many modern bands that try something like that, that actually deranges. The beauty of those groups is that Can sounded nothing like Faust, who sounded nothing like Amon Dull, who sounded nothing like Ashrar Temple... The diversity really puts you in all these different "worlds". It's something else! And that's why, with our music, I can't really say where it's going to go next, because there are no boundaries. The one thing I can assure you is that it will never be rock'n'roll. I can't stand rock'n'roll. I'm allergic to it. If you take the German bands as having no traditional roots in rock'n'roll or R&B, as having roots more in Stockhausen than in Chuck Berry, than we follow on from that, and are even more free-floating and rootless. I listen to stuff like Stockhausen, Penderecki, Xenakis, Ligeti, Pierre Henry, all that "avant-garde" stuff. But not from an intellectual point of view, but just to bathe in all the sounds and noises. It's totally exciting...We always dedicate albums to deviants, and I tend to like deviant music. Anyone who's a character, does something completely willful and doesn't give a damn about what other people think. There are a lot of people out there who do that, but they tend to get buried under the carpet...There's a lot of humour in the music, but a lot of people home in on the disturbing side. It's got really disturbing on this tour. People have come to hate me. A guy in Oslo kept trying to assault me. I got a letter from another guy who basically blamed me for all his problems. He'd bought all the records, and he was basically accusing me of sending him over the edge."
http://legendarypinkdots.org/
"Hellowe'en"
https://www.youtube.com/watch?v=Ac4zFRh1I9I
"New Tomorrow"
https://www.youtube.com/watch?v=n393gp5-4O4
"The Safe Way"
https://www.youtube.com/watch?v=HG0HpWPijkM
'Crushed Velvet Apocalypse'
full album:
https://legendarypinkdots1.bandcamp.com/album/the-crushed-velvet-apocalypse-2010-remaster
https://www.youtube.com/playlist?list=PLlX1lj_Ahio-pRdujztjweKg2ud0yNPZl
1. "I Love You In Your Tragic Beauty" 4:40
2. "Green Gang" 7:38
3. "Hellsville" 5:42
4. "Hellowe'en" 1:17
5. "The Safe Way" 4:31
6. "Just a Lifetime" 7:40
7. "The Death of Jack the Ripper" 5:20
8. "New Tomorrow" 9:53
9. "Princess Coldheart" 6:40
10. "The Pleasure Palace" 8:10
11. "The Collector" 5:20
12. "C.V.A." 1:15
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