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Chef Menteur, "The Answer's in Forgetting"

Chef Menteur’s second full length retains the sense of a group setting obscure crossword clues while working out what their equipment will do. The sound is deeper and tighter but doesn’t completely abandon post-space-drone- audio-collage.


Backporch Revolution

Alec Vance and Jim Yonkus remain from Chef Menteur’s 2005 debut, We Await Silent Tristero’s Empire. That’s all well and good, but Dan Haugh’s drumming and (on one track) Brian Abbott’s banjo and sitar, bring fresh energy and discipline into the mix. Not that either of them seems responsible for the biggest surprise: the first bars of this album feature Vance simply strumming an acoustic guitar. Given the band’s previous catalogue and performances it’s as unlikely an opening as if they’d covered “Do You Think I’m Sexy?”

However, The Answer’s in Forgetting does not completely kick out the jams. “Parasitic Oscillation” goes back and forth between darkness and nothingness in a pointless manner before providing perfect contrast to ”Tonalli,” which swings in on percussive breaks and a lovely piano figure. “1491” scorches along like the comet of that year which came closer to Earth than any other. Again the track provides neat contrast when it bleeds into “I.E.D.,” a Mogwai-esque excursion that shows the benefit of Haugh’s dynamics and actual melody in the guitar lines. If they keep this up they’ll write an actual song with verses and a chorus!  As if to scratch that thought, the subdued drone of “Goodbye Callisto” follows— an ode to sandals, a nymph, a moon, or more likely a tribute to Xena’s nemesis. “OT III” ends the disc in a brief punchy swirl of banjo, sitar and synth which perhaps references the band’s “Oceanic 23” track from a WTUL radio compilation, or not.

Some of the pieces here rival Chef Menteur’s finest earlier track “W.A.S.T.E.” which used the voices of New Orleans trash collectors as the basis of a sublimely rhythmic nod to Thomas Pynchon’s The Crying of Lot 49.  Given a pleasing penchant for the obscure it can only be a matter of time before they title a piece “Remembering the Octahedron”.

For now the band eschew lyrics but, given that they (or possibly just Vance) enjoy linguistic puzzles and literary references, that too could change. Best keep a dictionary handy, anyway, as they understand the value and fun of naming a track “Trebuchet” rather than, say, “Shoebox Diorama.” With The Answer’s in Forgetting and Potpie’s Potpie Plays the Classics the back porch revolution continues to gain momentum.



Review of the Day

boyd rice presents "music for pussycats"
Time will forget music. Much of it. Oldies radio stations are a perfect example. On most of those channels, you'll find James Brown reduced to only one hit, "I Got You (I Feel Good)." You'll never hear "Funky President," "Mother Popcorn," or "It's a Mans Mans Mans World." The same can be said for a number of artists who might have never reached number one. Right now it can be observed with music from the 1980s, as we're reminded constantly of "Come on Eileen" but never Dexy's Midnight Runner's second single. While Boyd Rice understands that he can't change the world, he sure as hell knows how to put up a fight. Twelve of his favorite forgotten girl group songs have been presented here, none of which you have probably ever heard of. While the sound quality is obviously shoddily reproduced from the old 45s, it sure is refreshing to hear some really fun girl group songs that haven't been played to death. It's almost like getting one of the Nuggets collections or the amazing 5xCD set called "Box of Trash", and uncovering a world stifled by corporate decisions to trim playlists and limit history. If anything Boyd Rice can be commended for, it's his astonishing ability to make people question their surroundings and get them thinking. "Music for Pussycats" frighteningly gives me more confidence that over time, much of the music we love and write about here on Brainwashed will be erased from civilization.



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