Someone suggested that Suss Müsik repost our contributions to the weekly Disquiet Junto projects, because they enjoy reading the explanations of the tracks. While you’re reading the original post, make sure you check out the other contributors’ works as well.
Florence, Italy, summer of 1990. Suss Müsik is sitting in a cafe with three fellow international students from the local art college. We’ve surpassed the “pleasantly drunk” phase and are rapidly accelerating into the “lemme tell you what I really think” stage.
Tonight’s topic of conversation is whether cultural salvation can be found in the likes of David Salle, Julian Schnabel, Jenny Holzer and Robert Longo.
“I hate Robert Longo’s work,” moans Daniel the post-modern painter from Cleveland. “Everything he’s done looks like that Branca album cover.”
“What’s a Branca,” slurs Roberto, whom we’ve dubbed Bill the Person because we suspect that’s his real name.
“He’s one of those New York types,” rasps Hartley the hippie sculptor in his Arkansas drawl. “Like Laurie Anderson.”
“Branca’s nothing like Laurie Anderson,” growls Suss Müsik. “For one thing, Laurie Anderson’s work is exceedingly boring.”
“Oh, like Branca’s not?” asks Daniel. “I mean, if you enjoy ear-piercing volume then that’s great, but boring and loud is still boring. And you really need to see Home of the Brave.”
“Home of the Bore is more like it,” growls Suss Müsik. “And seriously, have you actually listened to The Ascension? Do you not hear the hidden tones between the layers of dissonance? The majestic sonic interplay created by hundreds of guitarists strumming a single chord? It’s like a symphony orchestra.”
“Do you guys like the new New Order?” interrupts Bill the Person.
“I don’t even like the old New Order,” dismisses Hartley with a wave of his hand. “Except that one song that goes ‘this is not my beautiful house.’”
Daniel points at Suss Müsik. “You’re nuts.”
“Defending Glenn Branca is nuts? At least someone at this table knows the difference between New Order and Talking Heads. Branca’s music isn’t loud for the sake of volume. It’s genuinely uplifting, cathartic. Plus, his participation in the No Wave movement helped to democratize a male-dominated landscape.”
“Democratic dominatrix no wave what?” squints Bill the Person.
“That is true,” Daniel quietly admits, nodding his head thoughtfully. “I hadn’t considered Branca’s influence on bands like Bush Tetras, Ut and Sonic Youth.” He pauses to wipe his hands on his Silence=Death t-shirt. “Maybe I should go back and check out Lesson No. 1.”
“Branca’s best stuff successfully blurs the line between highbrow and lowbrow art forms,” continues Suss Müsik. “You like Philip Glass, right? Some of Branca’s more cerebral work is similar. And if you want to jump up and down and get sweaty, the final two minutes of Light Field (In Consonance) is perfect. Branca’s probably the most maximal minimalist composer working today.”
“My favorite Allman Brothers album is Eat a Peach,” croaks Hartley. We already knew this because he mentions it every night.
“You know,” concludes Suss Müsik, “one day, there will be a global collective of talents who will come together to celebrate composers like Glenn Branca. They’ll explore the nuances of his craft through their own creative efforts. Who knows—maybe there’ll be some sort of communication technology that will allow musicians to share their output with a worldwide community of peers, inspiring artistic development among trusted friends.”
“Now you’re just talking crap,” murmurs Daniel, shaking his head. “Have another beer.”