Ross wrote:Wonder if he's got the date entirely right on that, he did write a song with them in late '96/early '97 entitled The Shining Path, which ended up as an instrumental without his input (eventually released in 2008 on From the Archives Vol. 5 as Sendoro Luminoso), bit of writing about that here:
http://futuresoundoflondon.com/rambling ... hap37.html
Thank you for the quick reply... found this based on your input..
The Future Sound of London - Sendero Luminoso (05:53)
Available on: From The Archives Vol. 5
Spanish for Shining Path, that was also the working title for this - one of two mixes of the track - in 1997. Says Gaz in 2001: "Prior to coming out to LA, Brian and I and Ian [Astbury, The Cult] had penned a vaguely Tomorrow Never Knows (a track which repeatedly freaked us out during this period) kind of track called The Shining Path. It had turned out a little bit too serious though - somehow there was too much darkness in the lyric...". One of fourteen known tracks from these 1997 sessions, Sendero Luminoso is a dark track with breaks and bass also heard on Head Hunter, sitars, backwards guitars and some Papua New Guinea samples. Though it and the other version of The Shining Path never featured the lyrics Gaz spoke of, the track and those sessions mark the initial work on the Amorphous project that became The Isness. After many years of fan speculation, the popular track finally came out in 2008 on From The Archives Volume 5
Interestingly enough.. it does mention two mixes of the track. Prior to coming out to LA, which I believe he did in 1996/97..
Would love to hear the track with the vocals. Shame that thought it was too dark>>>
Here is the full 1999 interview with Ian Astbury. He talks about The Cult break up.. I think the 1995 is right.. perhaps they revisited the track/finished it in 1997 or you could be absolutely right about 1997 because he was also done with The Holy Barbarians and working on his solo album during that time.
Spirit Light Speed
“I’m obsessed with the movement of culture, the X factor that pushes it forward. Seeing it, being there, being a part of that vitality and trying to define the time you’re in, that’s what it’s all about to me. And that’s what I tried to do with the solo album, though it’s two years old now. The studio held onto it for awhile, demanding more money. Then the Cult reformed, then ewe had to fill a licensee, and then Beggars decided to put it out themselves – it all took time. Maybe now’s the best time for it though, becuase there’s a lot of heat around The Cult at the moment.
I found it very liberating. I got to sing – no one sings anymore so, by default, I’m one of the last singers on the planet – but O also got involved in the music. With The Cult I brought songs to the band, but Billy always wanted to add his own personality and he was mostly in charge of it musically. Besides, my ability to play and arrange was quite poor. My role was more to do with aesthetics. I’d bring things to the band that I thought might be appropriate. I’d change my wardrobe overnight and drag them along with me. I did it for Love, Electric, Sonic Temple, and the short hair for the last LP.
“Around the time we split, I did truly believe rock was finished, and electronica sustained me through that. I remember seeing Witchman with The Orb at Brixton Academy and being really blown away. So my idea was to mix electronica with rock. I discussed it with Gary from Future Sound Of London back in ’95, when I did a track with them that sadly never came out. I said the song music come first, but he disagreed – he said the loop otr the drum pattern must come first. Eventually I discovered that we were both right and both wrong, it could be either. In fact anything could come first.”
cheers for the info! NOW the quest is for the track with the lyrics...