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The Soft Pink Truth, “Is It Going To Get Any Deeper Than This?” (Thrill Jockey 2022)

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When I first heard the thumping house/disco EP Was It Ever Real?, I had a very hard time believing that it could possibly be a teaser for something more substantial, as much of that EP felt like top-tier Soft Pink Truth that leaves very little room for improvement. If those songs did not make the cut for the full-length, I felt the album surely had to be either absolutely brilliant or absolutely wrong-headed with no possible middle ground. As it turns out, I was at least right about the “little room for improvement” bit, as Is It Going To Get Any Deeper Than This? is not noticeably stronger than the preceding EP. Instead, it feels more like a lateral move, taking Drew Daniel’s star-studded house party in a more kaleidoscopically arty and eccentric direction.

Unsurprisingly, Deeper features roughly the same international cast of talented guests as the EP, but there are some noteworthy new additions as well, such as Nate Wooley, Wye Oak’s Jenn Wasner, and Jaime Stewart (Xiu Xiu). The result is a bit less “all killer, no filler” this time around, but the trade-off is that Deeper is an appropriately deeper and more immersive plunge into Daniel’s psyche, touching upon everything from Barry White to George Bataille to krautrock while still managing to be functional, forward-thinking, and archly fun dance music.

The album kicks off in style with its first certified banger, “Deeper,” which deceptively fades in with bleary drones before launching into a straight up classic disco groove with all the requisite hand claps and funky guitars. There is enough subtle dissonance to give it a somewhat delirious and unreal feeling right from the jump, but things do not get truly art-damaged until an unexpected church bell passage subsides. While the groove remains unswervingly propulsive for a bit longer, the insistent sexy thump is increasingly mingled with generous helpings of kitschy string stabs, tropical-sounding guitars, hazy flutes, and a host of other inspired psych touches before it all dissolves into smeary abstraction.

I suppose the extended running time and ambient comedown preclude “Deeper” from being a hot single, but several of the pieces that immediately follow gamely rekindle the dancefloor fire. “La Joie Devant La Mort” is one of the album’s more “perverse pop moments,” as Jaime Stewart sings a George Bataille line about being in search of joy before death over an endearingly weird groove that calls to mind Coil’s Love’s Secret Domain album colliding with “A Fifth of Beethoven” and a chorus of tiny frogs. Wasner then takes the mic for the breezily sensuous “Wanna Know,” which milks the album title’s question for all its worth over a groove that could have been plucked from a Love Unlimited Orchestra album. The following “Trocadero” then pays homage to the “sleaze” disco subgenre synonymous with the titular SF club before “Mood Swing” ends the first half with a killer slow-building disco fusion of spiritual jazz, gurgling psychedelia, and Reich-ian piano patterns.

The second half is a bit more abstract and eclectic, as the 13-minute “Sunwash” is a chilled out bit of synthy Tangerine Dream-inspired spaciness. To some degree, It feels like it belongs on a completely different album than everything that came before it, but it makes a fine palate cleanser and it technically is on a different album vinyl-wise (Deeper is a double LP). The languorously dub-inflected “Joybreath” extends that post-club “morning after” vibe further, as Rose E Kross whispers and murmurs Bataille lines in French as twinkling piano and bleary sax and vibraphone melodies lazily wander through a fuzzy dreamscape. I imagine it evokes the feeling of waking up on a beach at sunrise after a hedonistic night of dancing and substance abuse, but my life is far too boring for me to be entirely certain of that.

A couple of curious detours then follow, but the album ends on an incredibly strong note with a swooning cover of Willie Hutch’s “Now That It’s All Over” that feels half “psychotropic exotica bliss” and half “Love Boat” theme. It’s a fittingly beautiful and poignant end to the album, as Daniel arguably sheds all of his ironic, sophisticated, and avant-garde tendencies for six minutes of pure naked joy (albeit pure naked joy repurposed from a blaxploitation classic). In any case, it is one hell of a cover as well as the perfect end to a thoroughly enjoyable album. And, of course, both Deeper and Was It Ever Real? have earned a permanent place in my heart for being primarily inspired by an anonymous woman’s decades-old grievance with a club DJ.

Listen here.

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The Soft Pink Truth, “Was It Ever Real?” (Thrill Jockey, 2022)

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I had successfully deluded myself into thinking that I had spent my pandemic downtime wisely and constructively for the most part, but learning that Drew Daniel spent that same period assembling an all-star disco ensemble is now making me lament the sad limitations of my imagination and ambition. The resultant album—Is It Going to Get Any Deeper Than This?—is slated for release this October, but this teaser mini-album (part of Thrill Jockey’s 30th anniversary campaign of limited/special releases) is one hell of a release in its own right and a true jewel in Daniel’s discography.

Naturally, the big immediate draws are the killer single “Is It Gonna to Get Any Deeper Than This (Dark Room Mix)” and a disco/deep house reimagining of Coil’s classic “The Anal Staircase,” but the other two songs are every bit as good (if not better) than that pair, so no self-respecting fan of Daniel’s oeuvre will want to sleep on this ostensibly minor release (very few artists choose to release their best work on cassingle in 2022). Naturally, there is plenty of psychotropic weirdness mingled with all the great grooves, but I was still legitimately taken aback by how beautifully Daniels and his collaborators shot past kitsch/homage/pastiche and landed at completely functional, fun, and legit dance music. No one would raise a quizzical eyebrow if someone secretly slipped this album into the playlist at a party (not until “Anal Staircase” dropped, at least).

Some years back, one of Drew Daniel’s friends was fatefully asked “is it going to get any deeper than this?” while DJing at a club. That question became a “kind of mantra” for Daniel, as he was fascinated by the elusive meaning of that question. I am somewhat fascinated now myself, as it inspired me to think about which elements can imbue a piece with “depth” and whether or not the opening “Is It Gonna to Get Any Deeper Than This (Dark Room Mix)” could be said to meet that enigmatic criteria. My official verdict is “absolutely,” as Daniel’s bevy of outsider disco brethren inventively ride an absolutely perfect, sensuous, and thumping dub techno-style groove for 8 glorious minutes without ever dispelling the magic with a single misstep. It almost feels like Coil and Rhythm & Sound teamed up to record a libidinal, floor-packing party anthem (it’s a damn shame that never actually happened, but it seems like Daniel is perfectly happy and willing to fill that stylistic void himself).

Elsewhere, the following “You Don’t Know (The Full Rose of Dawn)” feels like a sexed-up channeling of “Loose Joints”-era Arthur Russell, while “The Anal Staircase” gamely attempts to translate the stomping and dissonant menace of the original into a catchy house anthem. It doesn’t quite work as well as the other three pieces for various reasons, but the biggest one is probably that guest vocalist Daniel Clarke sits that piece out (he is my pick for this release’s MVP, as his soulful freestyling is a reliable and recurring highlight). On the bright side, it is impressive that a cool Coil cover is handily eclipsed by all three of the original pieces. In particular, the closing title piece makes for one hell of a surprising finale, as Daniel and some talented friends from Acetone, Horse Lords, and elsewhere unleash something that sounds like an improbably wonderful collision of a groovy harpsichord-centric giallo soundtrack with a never-heard-before sexy and spaced-out lounge music experiment by Carlos Santana.

Listen here.

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Matmos, “Regards / Ukłony dla Bogusław Schaeffer” (Thrill Jockey, 2022)

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On this latest full-length, the perennially eclectic and boldly adventurous duo of Drew Daniel and MC Schmidt take a break from mining weird and esoteric source material to focus their energies on paying homage to underheard Polish composer and Krzysztof Penderecki associate Bogusław Schaeffer. Matmos were given full access to work their mindbending magic on Schaeffer’s complete recorded works and the resultant album is as characteristically unpredictable and hard-to-categorize as ever: instead of remixing or reinterpreting the Polish composer’s work, Matmos instead took “tissue samples of DNA from past compositions” and “mutated them into entirely new organisms that throb with an alien vitality.” Put another way, Regards/Ukłony dla Bogusław Schaeffer attempts to create a conversation or bridge between the “utopian 1960s Polish avant-garde” and “the contemporary dystopian cultural moment.” 

That is certainly intriguing and fertile terrain for a Matmos album, but the resultant songs wound up somewhere even more delightful and confounding than usual, often approximating a collision between fragmented exotica, kosmische, and a Kubrickian sci-fi nightmare. Naturally, that will be very appealing territory for most long-time Matmos fans, as this album is an especially inspired “everything and the kitchen sink” tour de force of quite disparate stylistic threads woven together in playfully disorienting and mischievous fashion by an talented international cast of virtuousos, eccentric visionaries, and plunderphonic magpies.

My knowledge of Bogusław Schaeffer’s work is quite minimal, which makes sense, given that he is not particularly well known outside of Poland. However, I have previously encountered fragments of his ouevre through Bôłt’s “Polish Radio Experimental Studio” reissue campaign (as well as an unknowing exposure via David Lynch’s Inland Empire). Fittingly, Bôłt founder Michał Mendyk was the spark behind this endeavor (as well as providing some presumably much-needed translation assistance). To Mendyk’s credit, reshaping and cannibalizing Schaeffer’s work turned out to be an ideal project for Daniel and Schmidt to throw themselves into, as the end result is quintessential Matmos. 

Granted, the duo’s characteristically morbid and/or gleefully ridiculous sound sources are absent here, but Regards checks a lot of other boxes on my personal checklist for an inspired Matmos album (kitsch colliding with high art, rigorous scholarship and compositional vision colliding with plunderphonic mischief, etc.). The opening “Resemblage” provides a representative window into the album’s baseline aesthetic, approximating a squelchy strain of post-modernist exotica that evokes the feeling of being serenaded by an all-cyborg Xavier Cugat Orchestra in a psychedelic cave. My favorite pieces all follow soon after, as Regards boasts quite a killer first half.

In “Cobra Wages Shuffle,” for example, Matmos unleash something akin to mutant electrofunk played with bath toys that later makes surprise detours into deep space horror, android ASMR, and fragmented NWW-style sound collage. Elsewhere, “Few, Far Chaos Bugles” brings in Turkish multi-instrumentalist Ulas Kurugullu for a mindbending melange of Eastern European folk, tenacious typewriter, Martin Denny, and Thirlwell-esque artificial-sounding horn blurts that evokes the feeling of having a psychotic breakdown on a moonlit beach because incomprehensible alien transmissions are being relentlessly beamed into my head. 

“Flight to Sodom” is yet another hit, capturing Matmos and instrument builder Will Schorre in an unusually poppy mood, as they steer a lurching kickdrum beat and burbling kosmische synths into a Rashad Becker-esque psychotropic bestiary (fitting, given that Becker himself mastered the album). While I do prefer the album’s first half to the second, there are not any pieces that miss the mark–only ones that feature a different balance of broken/fragmented avant-gardism and conventionally enjoyable grooves and melodies. As with all Matmos releases, the big caveat is that Regards is an unrepentantly challenging and kaleidoscopic listening experience, but the rampant exotica touches nicely balance the duo’s more alienating tendencies to make this one of the more fun and consistently fascinating albums in the duo’s oft-difficult discography.

Sounds can be found here.