“Super You” (Boredoms)

“You” already exist in speed–alternately, in the moving-towards another–yet bi-partite structuring of the social (1st/3rd, white/non-white, etc.) slows everything down. Initial pulsing drones speed up and travel left-right via tape manipulation; then: power trio alternate major minor sustained riffs, only to be violently accelerated with all directions and sonic anchoring points confused. Final staccato section offers up an everyday, banal version of the “you” (which can only be constituted in by traveling through the spacing toward the other) that refuses the third parties that insure “justice.”


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“Rebel Rouser” (Duane Eddy)

Appropriate that police sirens were among the other street noises which upset the 2000-gallon echo chamber during recording, forcing 24 takes. Humming pitch manipulation (amp tremolo, Bigsby, and echo) forces open bass strings to throb; likewise, the rebel only needs sound to bounce off of walls to calculate the limits of the social enclosure. Which helps explain The Sharp’s semi-intelligible ‘jungle’ lyrics (giving us the local color[eds]): elimination of outside “noise” stresses the (strained, always porous) perimeter while attempting to perfect the system. Battle plans.


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