By LA Weekly
By Henry Rollins
By Weekly Photographers
By Shea Serrano
By Nate "Igor" Smith
By Dan Weiss
By Erica E. Phillips
By Kai Flanders
Goss has his arms outstretched, his torso vibrating like jelly.
"When the good stuff hits me, it's recorded with those spider frequencies in mind, when you know that the person wants to embrace you. You can embrace people in weird ways too. Giving them the creeps during that embrace is fun. You hug and you tickle, or you pinch their ass. Bowie and Page were masters of that — who could manipulate sound in a way that in the future it has a physical effect on the person hearing it. Instinctively knowing that. Because you can only do that if you know that feeling yourself. So it's like I'm going to attack the left side of this person's chest with this bridge that's coming up. While they're embracing the guitar's midlevel, I'm going to poke them on the left side of the forehead with something. Just make it a physical contact sport, in a way. Attack with intention and great skill. It's a magical skill.
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"There are still people making records like that. Joanna Newsom, who I adore, who is just such a gift in this era for us, I know she knows that sense of being at one with her instrument. She's hearing the harp through her eyes. Hearing it through her fingers, too. So when I hear her records, even if I might not agree with the production decisions sometimes, I feel that I have my head against her chest.
"That's something to be preserved — that's something to shoot for. And I suppose that's our only hope, to strive to keep the things you know are worth preserving. Preserve that beauty! Just because everybody else stops, doesn't mean you have to."
Jay Babcock is editor ofArthur magazine.
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