The greatest, strangest news about Wu-Tang is spreading like the anachronistic fear of killer bees.
Apparently, the group has secretly recorded a double album, in secret, called The Wu – Once Upon A Time In Shaolin…
The album introduces The Carmen Clandestine Experience, the world’s first private music service.
Its first release for private sale is The Wu – Once Upon A Time In Shaolin… a new double Wu-Tang album consisting of 31 new tracks exclusively recorded with the entire Wu-Tang Clan.
It includes special guest appearances by Bonnie Jo Mason, Redman, FC Barcelona soccer players and a unique tapestry of guest performers. The album was produced over a period of six years by Wu Tang producer Cilvaringz under the tutelage of The RZA.
The album encapsulates the Clan’s legendary dark funk and avant garde sound and is produced in the original Wu Tang style of the 90s. This is the first high-profile album never to be commercially released to the public and the first of its kind in the history of music.
The music is available for purchase and ownership by one individual only. It is presented in a hand carved nickel-silver box designed by the British Moroccan artist Yahya.”
Even more important is the reasoning behind such a move, brought to us by RZA. You can’t say it better than this. This is on the level of the Gettysburg Address for crissakes:“History demonstrates that great musicians such as Beethoven, Mozart and Bach are held in the same high esteem as figures like Picasso, Michelangelo and Van Gogh. However, the creative output of today’s artists such as The RZA, Kanye West or Dr. Dre, is not valued equally to that of artists like Andy Warhol, Damien Hirst or Jean-Michel Basquiat.
Is exclusivity versus mass replication really the 50 million dollar difference between a microphone and a paintbrush? Is contemporary art overvalued in an exclusive market, or are musicians undervalued in a profoundly saturated market?
By adopting a 400 year old Renaissance-style approach to music, offering it as a commissioned commodity and allowing it to take a similar trajectory from creation to exhibition to sale, as any other contemporary art piece, we hope to inspire and intensify urgent debates about the future of music.
We hope to steer those debates toward more radical solutions and provoke questions about the value and perception of music as a work of art in today’s world.
While we fully embrace the advancements in music technology, we feel it has contributed to the devaluation of music as an art form. By taking this step, we hope to re-enforce the weight that music once carried alongside a painting or a sculpture.
The album will be put on listening display in renowned galleries, museums, venues and exhibition spaces around the world for only the most dedicated to experience before it disappears into the private collection of a buyer.
The public will know that what they will hear will be a once in a life time experience.
A notable few have explored original and creative economic models. Prince, Radiohead and more recently Jay Z and Beyonce have all introduced new financial and distribution models and challenged the industry structure.
Simultaneously, it launches the private music branch as a new luxury business model for those able to commission musicians to create songs or albums for private collections. It is a fascinating melting pot of art, luxury, revolution and inspiration. It’s welcoming people to an old world.”
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