Aetheric Vehicle, An Interview with Matmos

A few months ago, I talked with Drew Daniel and Martin Schmidt of Matmos on the occasion of their 9th full-length album, The Marriage of True Minds. Since 1995, the group has carved out a singular and eclectic career path. Their music ranges from  industrial soundscapes to electronic dance pop, musique concrete,  heavy metal, and numerous other genres and subgenres, sometimes within the space of a single song.

With their emphasis on process and experimentation, Matmos has gained a reputation for being outré conceptualists. While somewhat reductive, The Marriage of Two Minds certainly does not disabuse the listener of that notion. The material for the album was generated by a series of experiments in which Drew Daniel attempted to telepathically communicate lyrics and other musical ideas to series of volunteers in isolation chambers. You can read more about it here.

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Flypaper by Robert Musil

Tangle-Foot flypaper is approximately 36 centimeters long by 21 centimeters wide; it is coated with a yellow, poisoned paste and comes from Canada. If a fly alights on the paper –not eagerly, but more out of convention, because so many others are already there– it is glued at first only by the outermost members of its arms. An entirely light and disconcerting sensation, as though while walking in the dark we were to tread on something with our naked soles– nothing more than a soft, warm, unavoidable resistance, and yet something into which a gruesome human essence flows, recognized as a hand somehow just lying there and with five ever more perceptible fingers grabs hold of us.

They hold themselves forcibly erect, like cripples who do not want to be noticed, or like decrepit old soldiers (and a little bowlegged, as when you are standing on a sharp edge). They stand at attention, gathering strength and contemplating their situation. A few seconds later they have decided and begin, as best they can, to buzz and try to lift themselves. They perform this furious operation until exhaustion forces them to a halt. A pause for breath follows, then a new attempt. But the intervals become longer. They stand there and I feel how helpless they are. Bewildering vapors rise up from below. Their tongue gropes about like a tiny little hammer. Their head is brown and hairy, as if it were made from a coconut; manlike as an African idol. They twist forwards and backwards on their firmly fastened little legs, bending at the knees and straining upward, like men trying  their utmost to move too heavy a load: more tragic than the working man, truer as an athletic expression of the greatest exertion of Laocoön. Then comes the extraordinary moment when the need for one second’s rest overcomes the almighty instinct for self-preservation. It is the moment when the climber voluntarily loosens his grip for the pain in his fingers , when the man lost in the snow lays himself down like a child, or when the pursued stops on account of his burning lungs. They no longer hold themselves up with all their might, but sink a little lower and are in that moment completely human. Immediately they are held somewhere else, higher up on the leg, from behind, or at the tip of the wing.

When they have overcome the spiritual exhaustion and resume, for a little while, the fight for survival, they are fixed in an awkward position an all their movements become unnatural. They lay down with outstretched hind legs, propped up on their elbows and try to lift themselves. Or they sit on the ground, reared up, with outstretched arms, like women who try in vain to twist their hands free from a man’s grip. Or they lay on their bellies, head and arms in front, like fallen runners, and only the face held high. But the enemy is simply passive, and wins in these desperate, bewildering moments. A nothing, an it, draws them in. So slowly that one is almost able to follow them, often with an abrupt acceleration at the end, when the last inner breakdown comes over them. They let themselves fall forward, face down, head over heels; or sideways, with their legs distended; often rolled to one side, with legs paddling in the rear. Like fallen airplanes, one wing reaching into the air. Or horses pushing up the daisies. Or with endless gesticulations of despair. Or like sleepers. The next day one may yet wake up, fumble with one leg or flutter a wing. Sometimes this motion spreads itself throughout the entire scene, then the lot of them sink a little deeper into death. And only on the side of the body, in an area near the shoulder socket, do they have some small pulsating organ that still goes on living. It opens and closes –one cannot see it without a magnifying glass—it looks like a miniscule human eye that ceaselessly opens and shuts.

Translation by Matthew Spencer. Based on the German original with consultation of the English version by Peter Wortsman included in Posthumous Papers of a Living Writer published by Eridanos Press (1987).