News / In The Press

News:

Glenn Campling (Tones On Tail) and coL are recording
new material for an upcoming JesusWarhol EP!

coL has directed a 2nd music video for Doleful Lions:
"Funeral Skies For Burst Patriot"

coL is Producing a new album by Richard Ross.
The album features tracks written over the last few years,
with contributions by Ariel Pink and coL.

Introducing JesusWarhol Records EP, new releases
from amazing underground artists.

coL recently filmed a music video for Richard Ross.
Watch "GIANT BEAT" here. Check out some
photos of the shoot here.

Dead Designs has been commissioned to create design
work for the legendary band: Tones On Tail

Unformind You Don't Have To Choose Now (2011)
Available Now!

New artwerk for Sand Things (2008)

coL video for "Spectacular" unearthed.

Unformind has a new album on the way.

Sand shares a peak into new material.

coL interviewed by Daniella over at Sleep and Be Sheep

coL is recording his 48th album in Denmark, Germany and Los Angeles.

The Exploding Plastic Kaleidoscope Volume 2 is now on sale.
Volume 1 has been Re-Mastered and is also available.

Sand is rumored to be working on new material for
a follow-up album to his 2008 debut.

_________________________________In the Press:________________________________

Shifty Disco August 2005

The balance between pop music and art has been quite abstract in the last 30 years.
The work of Talking Heads and Composer - Producer Brian Eno in the early 1980's is such a harmony.
The focus of popular musics has largely been a systematic formula of what Eno describes as "very pyramidal".
A class system where the lead vocal is at the head of the class. This legates the rest of the instruments and sounds to the backround.
What interests coL is the scope of many sounds building to create a sonic landscape that is similar to a flat shape. Also, to have
each piece of music (song) exist on it's own in space. Not rooted down by any chord structure or boundary. A lot of
what Eno was aiming for, while creating such work, was to physically place the concept of music in a new place,
as well as in our minds. It is brave. A lot of what makes up the nature and scape of coL's music is similar.
The focus of creating sounds that are understated and modest releases them from any role or idea,
and they are free to go where they may, very similar to the concept of improvisation.

Amplifier Magazine March / April 2006

"JesusWarhol Records and all the industries of Colin Lipe are coming to a place where people
who not only want escape, but escape forward, can find a friend, ear, and object of both implicit
function and exquisite beauty. Dancers, farmers, philosophers, and pizza makers all have
a valued position in the world of coL. Try playing some James Brown and watch
the vibrational patterns of the universe show themselves to you. Love the
old fashion way. Selfless. We wouldn't work without us."

BBC Radio 2008 / 2009

Sand and The Exploding Plastic Kaleidoscope featured.

Music From Another Surface August 2010

I have been a quiet observer of coL's work since I first read that he performed drums on one of Ariel Pink's Paw Tracks releases.
I must admit though, that due to no one (including coL) making a big fuss or push - to get his stuff into the mind of his generation, I have
been hesitant to dive into his immense and overwhelming catalog of 47 albums. Where do I begin? I mean, if someone has 3, 4 or 5 albums,
one can pick an album that is newest or start from the first. You don't feel like you've missed too much of their output, up to this point. But, with coL,
there is already, due to his enormous library, this sense that you have missed out on something, and that is kind of a mind-fuck, seeing as how most people have
never even heard of him! I have put this past me, and gone into the depths. Well, I bought an album - finally. I picked his 42nd (and I know that sounds strange) album:
" The Temple is Burning" from 2007. With an opening line like: "You're so afraid to kill who you are, and begin again." This is like nothing else is out there. What is weird is the
sense that coL would rather have the story or meaning behind the songs accepted or taken in, then his persona. There is also something else going on. These are no pop songs.
I am not even sure if they can be called "songs". They are intense, and the use of music for coL seems to be a way of expression, the way video was during the 80's with such work as 14
video paintings; "I see TV as a picture medium rather than a narrative medium. Video for me is a way of configuring light, just as painting is a way of configuring paint." - Brian Eno.
I believe coL uses music just the same way. He is an artist, and this happens to be a medium in which he expresses himself.