The sound, the song, the words, and the mounting narrative spool of the efforts of PHILIPPE PETIT and OXBOW founder and frontman EUGENE S. ROBINSON.
THE CRYING OF LOT 69, drawing on equal parts Pynchon and the dog eating dog laws of senseless jungle indifference, is the sound of compassion denied. Featuring tales from a killing and forming the first in a trilogy that will see the star cast of characters alternately expanding and contracting, THE CRYING OF LOT 69 pulls upa blanket, of concrete, and cozies you into the comfort of a world where the mildest intentions havethewildest effects.
EUGENE S. ROBINSON has, over the course of time emerged as a virtual man for all seasons. With a number of published books under his belt and upward of eight recordswith his group OXBOW [www.theoxbow.com], Robinson's CV includes collaborations with Lydia Lunch, DJ Rupture, Xiu Xiu, Zu, Black Sun, Old Man Gloom, Barry Adamson, Marianne Faithfull, Klaus Flouride, Allen Ginsberg, Bevin Kelley from Blevin from Blechtdom,Todd, Capricorns,Jarboe and many many more.
PHILIPPE PETIT is interested in soundtracks; even if he creates original music he'd rather be introduced as a "musical travel agent" than a composer.
PETIT uses a Cymbalum, an Electric Psalterion, computer and synths to build up electronic layers, process acoustic and field recordings.
To second the machines he likes to move various glasses, or percussive objects, and take advantage of vinyl material to fondle released sounds.