- Crust punk
- Art punk
- Alternative rock
- Indie rock
- Avant-rock
- Psychedelic rock
- Spoken word
- Post-punk
- Electro-punk
- Crossover
- Sampledelic
- Jazz
- Plunderphonics
- Hardcore
- Electronic music
- Dada music
- No wave
- Non-music
- Jazz punk
- Cold wave
- Ambient
- Leftfield
Comment: this
set of 22 tracks consists of a couple of joint albums, more
profoundly,
Côte, and
Ntoa. The combo comes out of
Mexico and provides something truly refreshing and mind-altering
within the rock (and roll) genre. First of all, it is incisive and
harsh by its formal shape and certainly dadaist and postmodernist by
its conceptual approach. Of course, the discoloured terms
“postmodern” and adjective “postmodernist” do say a bit
little about certain phenomena but it can be mapped as a bastard of
different genres and exploitation of different genres. It may be
tagged as an example of exploitation punk by ranging from art
punk/post-punk/electro-punk to hardcore, psych-punk, cold wave/gothic
punk and crust punk with hints at spoken word, jazz, electronic music
and downright plunderphonics/sampledelic art. But I can guarantee you
could find out more cues to even more phenomena and
stylistic/stylized pops. Frequently the guitars chime like an angle
grinder. One more fact I can admit the artist is obsessed with more
or less implicit sexual (under)tones (being inspired by the oeuvre of
Marquis de Sade). Undoubtedly one can partake in a frantic pool of
very different experiments and combinations. As it is explicated at
the site of Plataforma Records their modus operandi is the constant
violation of the rules of harmony which dictates the Orthodox Music.
At times, at
Barbichuettes Night (A Tribute) one can enjoy a
submerged, schizoid dialogue being savoured by spacey synthesised
atmospheric lines and scruffy analogue synthesiser effects. It comes
from nowhere, in the sense that I have no idea of how to localise it.
As if being everywhere, it does mean having no place at all. However,
at the same time it does not chime in a cheapo and vacuous way
altogether. By possible kindred souls it could be compared with the
St Petersburg, Russia-based dadaist
surf/punk/lounge/avant/sample/psych/fetish-pop combos Messer
Chups/Messer für Frau Müller. But I am very sure they have listened
to This Heat, Bauhaus, Throbbing Gristle, an early Cabaret Voltaire,
Velvet Underground, The Fall, and many artist from within the No Wave
pigeonhole either. The overpowering issue is a part of the
discography of a French imprint, NKS International Muzakillabel, a part of the discogrpahy of Brazil-based imprint Plataforma, and a part of the discography of the Chilean Cieliro Diystro.
