Anyhow Blues Revival | Songs of Sissyphus in the Key of Narcissus

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Folk: Alternative Folk World: Asian Moods: Mood: Intellectual
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Songs of Sissyphus in the Key of Narcissus

by Anyhow Blues Revival

During my solo exhibition "Lucid Dreams In The Reverie Of The Real", at the Singapore Art Museum, a sound recording studio was set up as one of the exhibits. Audiences were welcome to play instruments provided or they bring their own and have a live jam .
Genre: Folk: Alternative Folk
Release Date: 

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  Song Share Time Download
clip
1. China Moon / On an Island (Medley)
7:55 album only
clip
2. Bells of Freedom
7:28 album only
clip
3. Free-Demption Song
6:56 album only
clip
4. Forgotten Songs
4:11 album only
clip
5. Open Heart
5:10 album only
clip
6. Art Is Dead
5:22 album only
clip
7. Drenched
2:20 album only
clip
8. Joy of Living (Alternative Take)
7:26 album only
clip
9. Songs of Sisyphus in the Key of Narcissus, #1
12:56 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
These songs were recorded during Lee Wen's solo exhibition at Singapore Art Museum, entitled: "Lucid Dreams in the Reverie of the Real". These songs were a part of his "Anyhow Blues Project", another of Lee's institutional critique.

The “Anyhow Blues Project” characteristically manifests the various contradictions that contemporary art seem to be mired in with different positions and claims. Performance art once frowned on as the pariah hybrid iconoclasm of all art forms that threaten the pillars of conventions and traditions already dissipated in society’s plight with globalization. Our political will to uphold ideals of democratic freedom has been weakened by the triumph of capitalism, commercialism and consumerism seem to refrain in evidences of performance and conceptual art gaining acceptance and prominence and even celebrated in major museums and mega art shows.

The project also responds to Adorno’s critique that popular music and the protest songs of the ‘60s are in fact pretentious commercialism. “Anyhow Blues Project” readdresses the ‘high art/low art’ debate in the nonchalant presentations as a strung out folk singer re-learning how to play his guitar again, at times unable to keep rhythm or forgetting his lyrics. Through the songs the nuances of social discontent are revealed against the current trends of euphoric celebration manifested in the escalating propagation and so called "globalization" of contemporary art and culture via the proliferation of international art biennales, and the expanding art market. An expression of desperate struggle for the individual's voice to assert a place in a commercially driven and essentialist engineered culture of contemporary society.

The presentation of “Anyhow Blues Project” also questions the attempt to re-position performance art in its desired return to raw, abstract formalism. The domesticating if not disciplining of an ‘anti-discipline’ not only privileges and classifies performance art as serious high art status but may also suggests the desire to disengage herself from earlier social concerns. In contrast to international trends, the Anyhow Blues Project also expresses the concern that independent local music if not art and culture in general even gaining deserving legitimacy find themselves up against high powered commercial or exploitive fare if not self defeating prejudices of local audiences sold to the "globalized" world of contemporary art and culture, perhaps still circumscribed by a colonial, imperial mentality of western superiority if not loyalty to the exports from an ancestral motherland.

Note:
All tracks recorded at Singapore Art Museum with Karl Kerridge (lead guitar), Acid Reef (bass), Jordan Rais (sound-engineer).
Except 9. Songs of Sisyphus in the Key of Narcissus #1 was recorded at Blue Jazz.

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