TOWARDS A DEFINITION OF "purple trap"

I may have come across the meaning of "purple trap" -- it took witnessing the merzbow/haino duo performance to figure out -- my thinking goes something like this:

1/ in an interview somewhere (probably in WIRE) merzbow says his music is partly inspired by the "freak-out" endings of performances by 70s rock bands, like erm, I am not an expert on this, surely the general genre and period is known to you?

1a/ there is a 70s rock band called "deep purple"

1b/ merzbow's point being that he starts his music where the pale rock bands end, at their so-called "freak-outs"

2/ also in an interview somewhere, Haino Keiji talks about most rock music just doing what is "possible", whereas he is interested in the "impossible" -- so we can see there is the similar sense in both musicians of the limit in "rock music", and their desire, if not in fact purpose, to surpass it.
- or the point is not to surpass anything because music, especially when performed live, is always on its own terms something, the history, as the point of departure of live performance, recedes to nothing. Music is on its own. The musician of the right conscience (it is probably a moral decision from the outset) is alone.

(This is connected to the song "My Only Friend" from the Challenge to Fate album -- the title is a reference to a line in "When the music's over" by the doors, and the line from simon&garfunkel "sound of silence" -- "Hello darkness my old friend" -- and the clearest indicator for how we should interpret Haino Keiji's words -- always as a literal expression regarding music. As he says in an interview, a friend in this sense means someone who is sharing his sense of what music is, which led him to feel isolated, and therefore start seeking "friends". But this is a really a matter for another day, it is prone to a sort of infinite regression or something . . . )

So as some sort of conclusion: a PURPLE TRAP is what is to be avoided when performing music, a fuzzy hipsterism, a psych-rock freak-out easy on the ears and attractive to the girls, careerism based on a rebel image . . .

I think this is one part of what the purple trap is.

(I will attempt to source most of the quotes and things above soon as my head feels more calm. Here is an important haino keiji interview for the time being: http://www.halana.com/haino.html)

--- the concert itself, 10th April, Superdeluxe ---

out of the three support acts, the ex- Birchville Cat Motel guy was good, the other two seemed to serve as a precursor of the purple trap revelation, un-adventurous takes on drone, full of cultural-appropriation ethnic bits &tc.

Merzbow used laptop, some held-same-way-as-guitar noise generating thing, and then moved to drums. Haino Keiji used guitar, vocals, air theremins, drum-machine, multiple looping of all.

I think the duo, KIKURI as they are called, are an exploration of that freak-out band end-space I mentioned above, it is something like a sustained climax, but completely different to that sort of thing as John Cage decried of Glen Branca, as referenced in this momus post ___>

It's hard to explain. There is that common type of a rock band ending, when they go all slow, you know what I mean, and it is such a cop-out, such a studied affect, such a purple trap.

That sort of thing is pulverized maybe.



-- other notes --

My enjoyment of drum machine haino keiji is steadily increasing. There are bass samples too -- it seems to project the spirit of fushitsusha

there were many western gaijin boys, all wearing the same kind of re-vamped "NHS specs", 3 stood together in a line all looked like brothers, a bit perplexed or something, transported from a just-started civil war . . .