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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.

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The Eye: Video of the Day

Harris Newman and Esmerine

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Review of the Day

Origami Galaktika, "The Power of Compassion"
Duplicate Records
The Galaktica agent of the multi-faceted, many-membered Origami art collective is one Benny Braaten. You might have encountered him late last year opening for the Legendary Pink Dots on their North American tour. There, he ensconced those smart enough to show up early in drones and ambiance and manically bowed bass guitar strings. At the merchandise table were flyers advertising this forthcoming 7". Soon after the tour I sent off $7 to Norway and about two months later the record (one of 500) arrived. There are two versions of the title track, recorded in Canada and Norway respectively. Version I offers a slow, breathy drone that rises and falls at times into near silence, glass-like chimes gently touching in the distance. The latter half of the track gains new layers of warmth and the twinkles gain friction. Version II is more ominous with a sustained, darker hued hum as subtle trombone notes effectively add to the aura. It's nice, soothing stuff, but with both tracks clocking in at just under five minutes, it really leaves you wanting for more, such as the stunning 'Stjernevandring / Eesti Lilled Silmad Süda' double CD from Norway's Jester Records. The digital format certainly allows Origami Galaktika's music the mammoth track times it deserves.

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