(N & B Research Digest)

Referring to a particular piece of the CD, the press release says “…through the track’s rejection of any smoothness and genre convention, it should be clear that the rest of the album needs to be listened with a full foreground attention or not at all”. Not that I had any doubt, as Borisov and Nikkilä are not known for treating ears with grease, and “Where are they now” just confirms the axiom. Picture a malformed sculpture of broken appliances, disobedient electronic instruments and war bulletins recited by a deadpan Russian voice from within the ozone hole. Not only attention is needed, but the whole cuts with a sharp blade through any indifference we could oppose, in the guise of easier listening or “I’ve-got-better-things-to-do” reactions. This is not even a “genre”, it’s something more related to text/sound composition with a punkish attitude, but without the idiocy of punk; it’s a way of presenting data that, taken singularly, may sound or appear insignificant, but fused in a single cauldron they become symptoms of an undecipherable uneasiness. Borisov compares his texts to “the automatic writing of the Surrealists”, yet the results heard in this CD made me rather think to a couple of anti-techno terrorists who take control of a commercial radio station and fuse all the jingle tapes and the payola hits into a magmatic mire of detached hate. I fully sympathize. Oh, and the “Metaphysics of Swing” track is wonderful; aaah, that cut-and-paste muzak and delirious rants…I just miss Coppertone, then it would be the ideal soundtrack for my day at the beach.

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