lickety split in yr wet dreams
the last multiples oddcast! also unfinished! sexier than ever! and yet strangely unfulfilling.
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Dan Gibson’s swamp sounds
Morricone’s sick heart + whispers + gasps
two-dimentional pop songs are static and inaccessible. they are "other" places, a storyland which holds our attention, through a narrative or emotional hook or something. lyrics contextualize the pop-song. it is like a press-release, a prepared statement, complete and truly intended by the pop artist; instructions on how to read the song, where it comes and who it's for.
the pop song on this side, for instance, suggests that if it were not for sly, the unintelligible but certainly celebrational grunting and moaning would not be taking place. the "sexy" noises, what one smarmy critic called "the panting noises of a woman with a broken leg trying to finish the last half of a marathon," are integral to the reading of the song: sly's funk music is so sexy the only way they can vamp it any higher is by outright aural carnal injection.
at the same time, however, it illustrates the difference between sly—multi platinum superstar—and swamp dogg—obscene mid-level soul sensation, specifically in terms of just how sexy music can be. swamp dogg, for better or worse, injects sexual female grunts as an additional instrument into the mix, which is then like a layer of pornography through which any reading of the song must penetrate.
this song is the nexus and inspiration for this side.
it is followed by a mysterious "song" comprised of excited bongos, another excited female voice, and what are apparently bedsprings, each rising in intensity over a five minute span. this is overlayed over takushi yamazaki's spacemachine project, from a piece which germinates meanderingly for 21 minutes. this is like a joke, like two lovers who are not on the same wave length. or one lover who is not paying attention. there are moans and rhythm but there is also a wandering somethingelse. perhaps sex is very cosmic after all.
it is bookended by two songs from fushitsusha and neu! (which i pronounce "noy," but you make tackle as you see fit) which i find immensely sensual. in contrast to the swam dogg song, where an aggreable interpretation would be: "yeah, it would be good to be sexin' right now," the longer, instrumental songs offer no indication of how they are meant to be received. as a result their interpretation can be guided and influenced. or at least, that was to be the experiment.
the fushitsusha track represents flirting, and horniness and vexation, leather jackets and night clubs. this piece in particular i find very accessible, simple rock and rock, like 35 wordless white stripes songs in 10minutes. rock and roll is sexy, right? black leather and sunglasses and all that?
the neu! song has a strange excited sameness to it. like the bongo-space-sex medley preceding it, it offers both the motion of rhythm and the texture of the silky guitar twiddles. i guess its a little like cuddling, but far more dynamic. maybe like dolphins.
both songs were to be completely over-dubbed with "sexy noises." to be realized fully, the project requires a more significant variety of "sexy noises" then can be procured presently, and so is presented incomplete.
listening to excited heartbeats can raise your own heart rate. as a counter measure a sick, irregular heartbeat was added throughout the side.
sometimes it makes me dizzy
next week! we found no.4 side B! the oddcast homage to popmtl! sure, pop was almost five months ago. but its mercantile spirit remains always.