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.
I pray thee, gentle mortal, sing again.
Mine ear is much enamored of thy note.
So is mine eye enthralled to thy shape.
And thy fair virtue’s force perforce doth move me
On the first view to say, to swear, I love thee.
Methinks, mistress, you should have little reason for that.
And yet, to say the truth, reason and love keep little company together nowadays.
Shakespeare was known for great insults, but among his best was the moment Hermia calls Helena a “canker-blossom.” While Suss Müsik hasn’t always behaved properly, at least no one has ever referred to Suss Müsik as an infectious skin disease.
The rude mechanicals are the six amateur thespians depicted in the Shakespearean classic A Midsummers Night’s Dream. Suss Müsik envisions a musical genre named after this troupe to be a vocal sextuplet with minimal instrumental accompaniment.
For this intensely weird piece, Suss Müsik digitally created six vocal “mechanicals” based on their counterparts from Shakespeare’s play:
- Peter Quince the carpenter, establishing the flawed structure of the piece.
- Snug the joiner, emoting loud noises with no discernible phrasing.
- Nick Bottom the weaver, improvising leads that “hath no Bottom.”
- Francis Flute the bellows mender, singing phrases intended for a female vocal range.
- Tom Snout the tinker, vocalizing a wall with maximum distortion.
- Robin Starveling the tailor, attempting to provide a bit of light and failing.
The vocal parts were treated with various digital and analog processing devices and recorded live to 8-track. The fake strings and Moog synth bits were overdubbed.
The piece is titled Lysander, named after the Midsummers character who becomes the victim of misapplied magic and wakes up in love with the wrong woman.