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The Weatherman returns and takes prominence on this latest sound art foray, taking on the intersection of the surveillance apparatus and our insatiable need to have machines listening for our latest whim.
Layers of samples, voices, music, found audio, sound effects, and other bizarre elements make up these haunting compositions from the masters of audio collage.
Some people will slice and dice their way to a hostile disjointed soundscape filled with vague unease, but Wagon Christ’s approach yields something sunnier and wholesome, like fruit salad.
Sure, bring your slick neon-tinged indie rock in here. I don't care that you sprinkled keyboards and saxophones all over in addition to the stabbing guitars, distressed vocals, and plucky bass. It just needs a beat we can dance to.
Opening track "Una Cumbia En Kinshasa" easily sets the stage for this transcontinental sound melange, a collaboration between Peruvian-born, Berlin-based Hop and Congolese soukous guitar player Bakorta. It's full of joy and weird production touches
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