Imagine if jazz had evolved from the New Romantic synth experimentation of the late 70’s or that punk had been instigated after the invention of the affordable synthesiser or even that computers had been programmed to write acoustic pop songs. All unlikely scenarios for sure but each of those does say something about the three tracks that make up Butsenzeller’s latest collection of mercurial musical musings.
The title track hits the listener’s consciousness, less like an opening musical salvo more like an oozing sonic life form, a dirge from the far reaches of space sounding like music which has fallen between the cracks, and indeed tracks, of a studio recording and that then gradually came together in a strange synchronicity to form a creeping doom jazz soundtrack. Miles Davis meets The Apocalypse.
The wonderfully named Voteshutupworkconsume says a lot about some of the underlying attitudes of Butsenzeller and is musically a call back to the industrial dance-noise-art-punk disco that we found on Seqs & Drums & Rockin’ Synths, a short sharp sonic shock and an infectious groover. The less expected inclusion here is Isabel, potentially just a rudimentary busking guitar tune but put through the blender, warped and weirded out, effected and affected and turned into something otherworldly, angular and only half-human.
As always Butsenzeller manages to surprise you with his music, even though you already knew that something surprising was going to happen and it is that ability to keep pulling the rug from under the listener’s feet that keeps things exciting, fresh and fantastically odd. Then again normality is a pretty overrated concept if you ask me.