Short-Bio :
Damien Veen has a classic-romantic and modern musical education and he is trained to audio-engineering by Baron Dov Bezman in 1992. Dov is a purist working with Jean-Philippe Rykiel for Youssoun' Dour Albums with a preference Mozartian for the classic music. Dov holds at the epoch a Record Label collection named after "Thesis".
Shangrilla-Dolls™ is a production unit started in 2006 by Damien, coached by ULV-Media AS-Norway enterprise. Damien will work in studio during about 15 years in a collective way as "AMONN" with a personal vision made to establish a solid music & media collection: an A&R made of fashions ; tributes ; remixes and creations.
Meeting and/or apporached by artists from the music business industry - also featured as: Malcom McLaren (The Sex Pistols, Adam & the Ants) in 1995 ; Stas Namin (Gorky Park-USSR) 1990 ; BBC journalist Paul Gambaccini (Interviews : Elton John, Phil Collins, Queen) meetings in Paris & London1993-94 ; Desmond Child (Bon Jovi, Cher) met in 1990 ; Alf E. Eik (A-ha, Lindstrøm, Secret Garden) productions in 2007 with U2 vs V2 & Bowiemix ; Mike Garson (David Bowie ; Nine Inch Nails) 2015 was met in concert and collaborated on few titles. Damien engages himself applying a concrete line media-marketing identity to a musical concept influenced by artists from various horizons.
With 20.000 listeners for Spotify from 2015 up to 2020 ; this collection moves from global streams to a fanbase getting less a quantitative market. As an artisant branding having associated technology of cloud servers to feature : - a virtual world gameplay ; video-animes and "on demand" radio broadcasting.
Influences from the 70's or 80's are various ; labels & concepts attractivity such as Factory (UK) ; Astralwerks ; Paisley Park ; Gorillaz with its animes and much more...
Concept for Nine Inch Nails V2 Single Remixes (2007-2010) & V3 Remixed ALBUMS (2020-2023) :
- "Depressive music is a minor tonality, monochord and atonal ; from modern gothic to serial ; emerging with the influence of the USSR Bolshevik structural technocracy and a constructive modern heritage being the extreme illusion or suicide of our last individual generations. - Althrough time, those scholar genres had promoted a "Deprofundis" in the early XXth century ; they had also birthed the sensualist denial of the human soul and of our European cultural heritage. We end-up deprivated of "real talents".The positivism succeeding to an uncomprehension of Friedrich Wilhelm Nietzsche's philosophy had in same time produced an effective social-mass productivist reaction into the public arts or milieu : storytelling of the democratic architecture birthing our overall deceptions and abuses - transformed into unsatisfactions and more voids. - But the heretical heritage of this overall corruption might not perstist as an epoch into any of our records nor books - nor leave any marking age into our human history : - Nothing much Prophetic had been found there but the roots of all evil lacking of great spirit"...
All concept side would find its competitors at a stage of its elaboration when the music is getting public : what is next ; what is the trend ? - what sound could challenge another artist ? and what could be the NEXT idea ?. Aiming at Nine Inch Nails isn't : so to speak ; an easy trial to rather sound professional ; with yet 2 complete Remixed Albums it is a way to express and adopt a sense of the critic. It is a challenge to redefine and merge the American style into a European one as an heritage but it is also a style figure : the inspiration source is an evidence and needs no more proofs.
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- "The tastes are not favorited all "and/or by" in nature. We all still could refer to canons of the art by a Greek antic Academy. There is indeed a codex in harmony and overall music that Trent Reznor wanted to disturb. Experimental had somehow flirted with some kind of a determinism. All had started when David Bowie vs the leader of NIN entered into a competition ; some egotrip that nobody had understood. That didn't concern anyone but those two. "Am I afraid of Americans ?" Shocking would help in getting noticed. A survivalist context where if the artist came to die, would his art be remembered ? Moreover and surely if the art doesn't pertain public ; any artist will fade away with it... Some intent here also made an opportunity to be seen..." -"All things must pass" - David Bowie -.
The constructivism of Nine Inch Nails gave the legal attempts for fans to freely deconstruct by providing shareware of the original STEM sources. At an epoch (2006-2010) where promoting music remained very expensive to level up also due to the harsh economies.- It is a strategic argument : spread the music and free some of the audio production that wouldn't validate much a benefit unless being co-opted by a Major Company - On the other way : stay a professional independent ; promote recurrent concerts and resist with political arguments ; breaking stages and barriers of the traditional business and industry gave a strong buzz into some socialist field.
- "It would be an intelligence and honesty to rather not criticize a complex system established since years with its marketing and corrupt mechanisms that would finally end-up in benefiting a great profit to those few who had denied it or critisized the merge during all a career... Doing some fame upon the back of the beast is vile and vain ; like some bear showman being acclaimed instead of the bear having performed the tour.."
The final artisant workshop by AMONN for these Remixes is audited at Reverbnation like an identity card and it is also proposed as a Creative Commons at Bandcamp.
- "Deconstruction needs a solution... reform needs an explaination ; a day after..."
- The original music masters for "With Teeth" and "Year Zero" are copyrighted to Nine Inch Nails - all original sources and STEMS are the integrity and courtesy of - Nothing Records. -
D.V.
