Wilson passed away on this evening in the hospital after suffering a heart attack that his doctor said was unrelated to his recent battle with cancer.
On Electronik Audience it’s Haig that seems to be playing catch up though. Resembling a bunch of dodgy early 90's house anthems - all flimsy processed beats and ambient synths - much of this record simply sounds dated. Only "Reason" and "Thieves" show real flashes of inspiration, their sneering vocals suggesting - frustratingly, if nothing else - that the trailblazing old punk is actually still in him, somewhere. ~Malcolm Jackwww.list.co.uk/article/2261-paul-haig
"Reason" is the first single which was released in May.The new single is out this week an it is called "Thieves/Ready To Go".
After making his escape to New York City in the mid-seventies, he presented several noteworthy performance pieces at the New York Avantgarde Festival, Stefan Eins' 3 Mercer Street Store and Artists' Space. Inspired by Yoko Ono's Plastic Ono Band and Lydia Lunch's Teenage Jesus and The Jerks, he made the transition into the new music of downtown Manhattan and formed the "no wave" band DNA with Arto Lindsay and Ikue Mori in 1977. This lineup recorded a single and 4 tracks with Brian Eno for the seminal No New York album.
In 1979 Crutchfield left DNA to pursue a series of musical projects under the name Dark Day. The first Dark Day single, "Hands In The Dark/Invisible Man" on the Lust/Unlust label, featured Robin's singing and modified electric piano backed by Nina Canal (of the Gynecologists and more recently, Ut) and Nancy Arlen (of Mars).
For most of the 1990's, Robin concentrated on his work in graphic design and performance art while editing the music newsletter "Quirky". In 1999 Robin utilized the new technology available to musicians and returned to the ambient and techno genres that he helped pioneer, on his disc Strange Clockwork.
In 2006, after having purchased a number of harps and psalteries, and having happened upon the spiritually profound "magic scale", Robin retreated from the cyclic electronic keyboard influences of the 20th century, to embrace acoustic material more in keeping with the ancient past, and released two solo albums, Songs For Faerie Folk, and Toadstool Soup. These feature glissando and drone improvisations on harp, tanpura, lyre, box drum and pixiefone based on some of the thematic elements suggested by the faerie lore of his self-penned tales.
