lane arndt--aka the specialest
lane arndt--aka the specialest
edmonton, AB, CA
Other / Indie / Roots Music
| Status | just synced his reverbnation.com/thespecialest page with his facebook page. My God who knew life good be this bountiful! Oh Yeah, and 9-11 was an inside job: ) |
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About
Bio excerpted from the collection: "A New History of Popular and Experimental Music from the Northen American Continent Formerly Known as Canada, 1989-2018." University of Tresor auf St. Maarten Press, reprinted with permission from the authors.
Lane Arndt, aka the specialest; aka proxyboy; aka smiles for the blind; aka cUPS.
Most likely born in edmonton alberta in canada, c. 1971, education pursued across three canadian provinces between 1990-97 with a focus on music performance and theory throughout; raised well outside of the church-based infrastructure of conservative late 20th C. northern alberta, married in ontario c. 1997 and divorced in 2003, however a separation prior to this is most likely evident in his early return from the quloquially dubbed ‘eastern sojourns'. (Rumbetica and Fintch et al, 2001 pg. 98) The aesthetic disparity typical of late 20th/early 21st C. postmodern electronicisms make the cataloging of the composer-performers works a near-thankless cause for even the most assiduous scholar; however, digital ‘watermarking' has now made it possible to trace the collected works, samples, AIFFs, etceteras--confirmed and disputed alike--back to a single 2nd generation iBook licensed to proxyboy, a well known regional tag for Lane Arndt.
Resistant to the scholarly task of definition through categorization, the composers output must be taken for what it is: equal parts experimental ethos and structural pathos within a framework of tones and frequencies, leaving none wanting for any thing more than a hint of identity in the futile search for unity of form and function; the postmodern anti-form of openness. As a guitar player Arndt/specialest trades in a type of fluent free association, at times attempting to navigate the slippery slope of the outside/straight-ahead callosum. Functioning at erratic intervals as either (or both) ‘the Specialest' and ‘cUPS', all levels of sonic disparity are juxtaposed in his abstract experimental approach to electronics.
A number of years into his developmental strategy of function and aesthetics, Arndt introduced a form known then as post-modern folk, a style of song-based experimentation more generally typified by college and community radio formats of the period. As a songwriter Arndt appears to have recorded more than he ever promoted, leaving that, as referenced in a contemporary culture-zine, to the "hipsters and glory-seekers" and opting for an melancholic approach more akin to his supposed later influences Arthur Russel and East River Pipe. (roughly translated from a pre-media dissmination period (p-MDP) scrap found in an abandoned tenemant house in what would then have been South Central Edmonton.
With precious little standing to testify on his behalf, aside from a generation of Edmonton-area guitar players and music fans who claim to have either "studied with him" (sic) or, more rarely, attended concerts by him, this reclusively popular and stylistic promiscuous artist will be remembered fondly for his attempts to unify a field theory of popular and experimental sounds at a time when the future seemed to hopeless to bother.
T.S./V.P. Universitat auf SuisseLanden
Lane Arndt, aka the specialest; aka proxyboy; aka smiles for the blind; aka cUPS.
A Bio
Most likely born in edmonton alberta in canada, c. 1971, education pursued across three canadian provinces between 1990-97 with a focus on music performance and theory throughout; raised well outside of the church-based infrastructure of conservative late 20th C. northern alberta, married in ontario c. 1997 and divorced in 2003, however a separation prior to this is most likely evident in his early return from the quloquially dubbed ‘eastern sojourns'. (Rumbetica and Fintch et al, 2001 pg. 98) The aesthetic disparity typical of late 20th/early 21st C. postmodern electronicisms make the cataloging of the composer-performers works a near-thankless cause for even the most assiduous scholar; however, digital ‘watermarking' has now made it possible to trace the collected works, samples, AIFFs, etceteras--confirmed and disputed alike--back to a single 2nd generation iBook licensed to proxyboy, a well known regional tag for Lane Arndt.
Resistant to the scholarly task of definition through categorization, the composers output must be taken for what it is: equal parts experimental ethos and structural pathos within a framework of tones and frequencies, leaving none wanting for any thing more than a hint of identity in the futile search for unity of form and function; the postmodern anti-form of openness. As a guitar player Arndt/specialest trades in a type of fluent free association, at times attempting to navigate the slippery slope of the outside/straight-ahead callosum. Functioning at erratic intervals as either (or both) ‘the Specialest' and ‘cUPS', all levels of sonic disparity are juxtaposed in his abstract experimental approach to electronics.
A number of years into his developmental strategy of function and aesthetics, Arndt introduced a form known then as post-modern folk, a style of song-based experimentation more generally typified by college and community radio formats of the period. As a songwriter Arndt appears to have recorded more than he ever promoted, leaving that, as referenced in a contemporary culture-zine, to the "hipsters and glory-seekers" and opting for an melancholic approach more akin to his supposed later influences Arthur Russel and East River Pipe. (roughly translated from a pre-media dissmination period (p-MDP) scrap found in an abandoned tenemant house in what would then have been South Central Edmonton.
With precious little standing to testify on his behalf, aside from a generation of Edmonton-area guitar players and music fans who claim to have either "studied with him" (sic) or, more rarely, attended concerts by him, this reclusively popular and stylistic promiscuous artist will be remembered fondly for his attempts to unify a field theory of popular and experimental sounds at a time when the future seemed to hopeless to bother.
T.S./V.P. Universitat auf SuisseLanden
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