Music
After meeting Dougans they both started discussing their shared interest in electronic music and began to work together on small projects; Cobain then left the college to build his own studio on an Enterprise Allowance Course and he and Dougans began to release tracks under aliases such as Mental Cube and Art Science Technology, some of these early singles would be compiled onto Earthbeat (1992).
His first big collaboration with Dougans was on "Stakker Humanoid", which went on to be a chart hit at a time when acid house in particular was becoming popular. The pair then released their first single as FSOL "Papua New Guinea" which also became a hit in clubs across Britain and the States, they signed with Virgin Records but remained independent artistically, something they have always fought for and achieved, Cobain puts this down to them already having a few hits under their belts (Papua New Guinea in particular) before they signed with the major label.
Cobain has always been the more vocal member of the band and always speaks for them in interviews with Dougans sometimes interjecting on a certain point; Cobain has said that FSOL is a combination of opposites, the roles of masculine and feminine are central to the FSOL ethos and Cobain has said that in the band he represents the melody and softness as opposed to Dougans representing technology, machines and programming; its the marriage of these forces, Cobain says, that makes FSOL work the way it does, especially with the Amorphous Androgynous of the new millennium where progressive rock and psychedelica were embraced. The new incarnation of Amorphous Androgynous is very much Cobains new vehicle for the expression of his energy whilst still releasing their more electronic based music as FSOL.
He has stated that he is influenced philosophically by Lao-Tzu, Buddha and Jiddu Krishnamurti and that he likes the bands Secret Chiefs 3, Mercury Rev and Simian among many others.
Read more about this topic: Garry Cobain
Famous quotes containing the word music:
“If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves.... The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Brünnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.”
—W.H. (Wystan Hugh)
“We often love to think now of the life of men on beaches,—at least in midsummer, when the weather is serene; their sunny lives on the sand, amid the beach-grass and bayberries, their companion a cow, their wealth a jag of driftwood or a few beach plums, and their music the surf and the peep of the beech-bird.”
—Henry David Thoreau (1817–1862)
“As if, as if, as if the disparate halves
Of things were waiting in a betrothal known
To none, awaiting espousal to the sound
Of right joining, a music of ideas, the burning
And breeding and bearing birth of harmony,
The final relation, the marriage of the rest.”
—Wallace Stevens (1879–1955)