I’ve always considered myself to be a creative person. When I first started working on American Water, I knew this is what I had always wanted to do with my life. When I was seven years old, writing mini novellas about vampires in those notebooks with the white and black covers. I knew I wanted to create characters and put them in situations and have them relate to the readers and each other. All I ever wanted to be was an artist.
And then came the world of music writing. I found something I was good at, this assessment of other people’s work, and it taught me what it was about art that interested me. It taught me a great deal about the happy place in my mind when I get to play with structure or study the structure of someone else’s work. Music writing became an intellectual practice that infinitely helped my creative work. It exercises my brain in a different way. I don’t really care for the politics that come with music writing, and that’s why I write for the places I consider home. But that’s because I know I want to create, I want to be an artist. And I know it’s going to be a while before anybody sees my artistic work, and that sort of disappoints me, because I’m impatient.
I want to be an artist, but for now, I’m a music writer. For now. But just you wait. When I come out as an artist, you’ll know it’s what I was meant to do. I was born to be a creator.
My Passion of the Weiss return is imminent, as I’m currently working on some good stuff. And I don’t mean “return” as in “write one or two posts and then disappear for another nine months,” I mean “return” as in “I’m back for real this time.” No Boy Who Cried Hiatus shit, it’s back to business for your boy Martin Douglas.
For those out of the loop, Passion of the Weiss is back and sporting a sleeker look, complete with new staff bios (which includes the bio photo I should have had for years).
When you are in the middle of a story it isn’t a story at all, but only a confusion; a dark roaring, a blindness, a wreckage of shattered glass and splintered wood; like a house in a whirlwind, or else a boat crushed by the icebergs or swept over the rapids, and all aboard powerless to stop it. It’s only afterwards that it becomes anything like a story at all. When you are telling it, to yourself or to someone else.Margaret Atwood, Alias Grace (via mar-see-ah)
Song: Liars - “Left Speaker Blown”
When “Ode to Viceroy” comes on and you and the person you’re with are just stoned enough to dance together in your loft (and watch wrestling, and eat veggie fried rice at 10pm, but those are other stories), that’s the best feeling, regardless of how temporary your situation with that person is.
No Vacation for Murder is on Spotify, but you can also listen to it here. I made eight of the twelve beats on the album. I would recommend it if you’re interested in hearing a defined noir aesthetic applied to rap music.
slopeseologist said: The Zilla Rocca post reminds me: I made a post a couple of months asking if somebody had sampled PJ Harvey's "The Devil" and totally forgot about the 47 ronin beat. Killer sample, so props.
Thank you! A lot of my beats that made No Vacation for Murder were ones that I made in like 2011, 2012. I think the beat for “47 Ronin” was one of the first beats I made on this project, which was originally intended for somebody else. But much like Clipse and the Neptunes, Zilla will always and forever get first run of my beats.
Zilla Rocca and the Shadowboxers - “Starvation Hour”
With yours truly on the beat.
Jian-Ji Temple, Osaka, Japan, 1960s