Black Moth Super Rainbow – Eating Us
Imagine a scenario in some distant future. Having created some sort of artificial intelligence, scientists soon discover that, like its organic counterpart, this computer needs to sleep. Not only sleep, but dream as well. The metaphysical implications are enormous, as the scientists consult with philosophers, doctors, psychiatrists and countless others to develop some sort of artificial dream-state.
After several unsuccessful attempts, they decide to strike a balance between robot-friendly sounds and the more familiar hazy bliss they know from their own dreams. Digging into the archives of the music from the turn of the 21st century, the dream-scientists extract a particularly woozy strain of Air’s astro-lounge. Even though their futuristic ears find it laughably anachronistic, nothing since has conjured the cool, detached hum of open space.
One clever person suggests that a more human element should be added, in order to encourage the machine to develop empathy for its creators. The rustic strains of folk music are dug up from the archives, this time from the 1960s and 1970s. Though they have some trouble getting the big plastic discs to produce music, the dream-scientists manage to extract some hazy psychedelia and acid-folk. Some of those assembled are embarrassed by the hippie-ish lyrics, and as such the decision is made to run all vocals through a vocoder.
Listening to the product of their hard work, a scientist worries aloud that the two key strains of music are not harmonious, and may distress the machine. A canny music expert suggests a radical device known as ‘Dave Fridmann’: a music-production method that utilises quantum mechanics to seamlessly blend the synthetic with the organic. The process occasionally causes music to break free of space and time, says the music expert, but this has largely been contained to Mercury Rev and the Flaming Lips, and besides, no one from the past has complained yet.
Having put the composition through – “Dave Fridmann’, the dream-scientists listen to the finished product. One member of the panel suggests that the music may be a tad over-produced, but, as another member points out, it is being made for a robot. The dream-scientists label their composition Eating Us, a reference to a film about cannibals that no one will get for at least six hundred years.
Little did they realise, the Dave Fridmann process set Eating Us loose in the timestream. Now twisting backwards through time, the composition slides into the heads of a band called Black Moth Super Rainbow, and through them it takes form on a hard-drive in a studio somewhere, and is released on CD centuries before it was composed.
Okay, so there are more likely explanations out there, and the timeline is a bit screwy, but this is at least as plausible as the Terminator series. Listen to the album and tell me I’m wrong.
Eating Us is out now through Spunk Records.