Last night the San Franciscan duo proved what Kid 606 told us years ago: Matmos are
the A-Team of Electronica. They packed in a capacity crowd at
Boston's Museum of Fine Arts, which, thanks to Dan Hisch is becoming
the definitive place for the best concert experiences. Matmos
performed new music from their forthcoming album, The Rose Has Teeth in the Mouth of a Beast,
joined by the opening four-piece ensemble from New York, So Percussion,
on a few tracks of theirs, a track of So's and a new collaboration of
the two.
It's not far-fetched to say Matmos could be the new Coil, in
the sense that their music is technologically challenging,
progressively thinking, and deliciously entertaining without being
cliche, derivative, or contextually self-referential. Their influences
lie more in counter-popular-culture literature than other musicians who
have walked the same roads and they present challenges to themselves
for the harnessing of sound and composition of music. They also get
better every time and anybody who gets the chance to see them live in
concert this time around will be very fortunate.
So Percussion
opened the show with a handful of short pieces accompanied by a screen
of films playing behind them. The core of the group is two
members who are primarily on vibrophones and two members who are
primarily on drums, however, each play a number of other perucussive
instruments including glockenspiel, slide whistle, harmonica, and long
pipes (both struck and stroked!) They were joined by a guest
guitarist for the entire set, so, in effect they weren't only a
percussion ensemble for this performance. They left and Matmos took the
stage for a couple songs before So Percussion rejoined them for some
tunes.
The Rose Has Teeth in the Mouth of a Beast is the
new album. It has been completed and delivered to Matador and
should be out in the springtime (hopefully May). It's an album
with the theme of portraits: each song represents a different
individual, with sound sources and styles that represent the person or
give the strongest impression to Drew Daniel and M.C. Schmidt.
The first song of the performance, the portrait of Valerie Solanis,
author of the Scum Manifesto, featured spoken word from local
Bostonian, Robin Belair. On the screen were images of roses and
flesh and organs that looked like they were breathing. Like
Matmos can get, it was vile but beautiful and didn't allow for the
attention to wander one bit. Other highlights of the night were
song portraits of William S. Burroughs, Ludwig Wittgenstein—with the album title
repeated, accompanied by So Percussion playing their instruments with
bunches of roses (petals collecting everywhere!), and a slamming tune
for their portait of Larry Levan, the gay bath house DJ and disco
god.
The night was intense, the music was stunning, and
you'll be able to make up your own mind when you see Matmos in their
own words and catch some exclusive glimpses and sneak previews of the
forthcoming album in a few days once The Eye feature is edited and completed. Stay tuned.
Image by Bill T. Miller