I also just have different concepts going on simultaneously. People just want to see a show unadulterated, so to make it easier to get into the Lydian womb, I created this video backdrop with psycho-ambient music and I'm channeling the words a lot of the time. I had to develop something like Dust and Shadows because I perform so much in Europe and got tired of doing translations, backing vocals, turning a quarter of the text into a foreign language. It's just the nature of who I am as an artist, more akin to Dadaists, Surrealists, or Viennese Actionists, where the concept comes first, then I find the collaborators.

I've always been a musical schizophrenic. It's kind of the same with Nick Cave, he has his ballads or his rock stuff.

They became as big as they did because they basically made the same record for 20 years. Sonic Youth were highly influential, but didn't sell a lot of records. Is the art world only interested in certain movements in retrospect once the coast has cleared? We'll just look at some examples that you can compare me to, in a sense. It seems like countercultures fall into this trap and lose their potency. How have you evaded being put into a box or commercialized throughout your career? Me because when you're in a country as old as Spain, you look into any windowДЄnd you know all of life, death, murder, love and violence has gone on in thereДЄnd now how do you decode all that? And that's part of what I'm doing in Dust and Shadows-decoding the history of It's for the architecture Pittsburgh, New Orleans, Barcelona. Place does matter my addiction has been moving every 2 to 4 years. Lived in Barcelona for the longest amount of time I'd lived anywhere-8 years. With yourself the more comfortable you are with other people-or, the more you Ultimately alone in the end, and the more comfortable you are with being alone Outsider community, no matter how deep in that community I am. Reflected the sense of being an outsider to me. In Spain and I didn't learn Catalan, which is almost as hard as Russian. Than your god' or greed-the god of all American kleptocratic society. Most of it based around the viral pathogen that is 'my god is bigger It doesn't matter where it is, it's the same war. Word artist under Reagan and I can't not speak about the wars that never end. They won't stop having wars so I won't stop fucking speaking Photographing, documenting and using it in some of my war rants. Belchite just made sense to revisit as it dissolves over time That they haven't torn down or repaired, a testament to man's brutal insanityДЄgainst the individual and against human life. It remains as one of the biggest monuments in Europe Of the footage was shot, was a civil war town where a country bombed its own In America we don't even have a history because we eitherДЇorget it immediately or invent it on the spot, but in Spain they actually haveДЄ media law written into the Constitution to not talk about the Civil War. Wretched history and its amazing present-how the spirit of the people throughД¤00 years of the Crusades, the Inquisitions, the Civil War, their spirit was Shouldn't we all? I first saw Spain in 1984 and I knew I'd live thereД®ventually, mainly because of the duplicity and juxtaposition between its I'm moving to Mars in a few weeks I guess, I'm not In your travels, either through Spain or elsewhere, that same kind of When I read accounts of countercultural movements, they usually talkДЄbout finding solidarity amongst each other, a band of outsiders. Shadows tour incorporates many visual elements, featuring footage ofДЄbandoned spaces in the Soria province of Spain, which you explored with Elise Lunch brings her newest multimedia experience, Dust and Shadows, to the Meow Wolf performance space (7 pm Sunday Nov. It has filled over three decades' worth of documented personal-political hysteria in the form of song, writing, performance, photography and installation. Lydia Lunch's transgressive vision, which expresses brutal truths that most would rather ignore, started in the late '70s No Wave scene in New York.

Lydia lunch willing victim