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Supervert Picks
Mr Swenson, The Sensuous Man (Cherry Red Records)
"Listen" may not be the correct verb to describe the experience offered by Mr Swenson's disk The Sensuous Man (distributed on Momus's Cherry Red Records). It is not a listening experience so much as an assault on logic and sonority. It is a disk to ponder and to endure, to marvel at and laugh. It fits no known musical genre, and may not even be music at all, though certainly Mr Swenson would disagree.
"I'm glad that you see why I'm so fascinated with my own shit," says Mr Swenson. "The only thing that I've decided to revise re my own self-perception as an artist is this: I AM SKILLED. I have simply developed a skill set that is incomprehensible to most classically trained musicians. You see, I'm skilled at the art of improvisational jazz on a whole different scale one which the typical ear is simply too unsophisticated to appreciate. The fact that I can't play the same piece twice is simply a testament to the virtue of my spontaneous self. Why waste such precious brain power REMEMBERING how a song was played in real time when there's copious technology out there to do the job for me? I'm simply applying calories in the right direction toward constant creation."
To call this music "improvisational jazz" is like calling genocide "humanitarian relief." Out-of-tune guitars, nasal wailing, shades of death metal and Swedish disco, all seemingly recorded on a microcassette and deformed on a computer, Sensuous Man is Unabomber music disaffected white-trash caterwaul with a college degree. A slag heap of sound forms the backdrop for songs expressing a madman's misunderstanding of multiculturalism. From "Don't Rear-End Me, I'm White" to "Hitler Was a Black Man," from "Jesus Bend Me Over" to "Cool Jew," Sensuous Man almost strikes the ear as more of a conceptual effort than a musical one, more performance art than musical performance. In a way, it's better to think about than listen to except that it's difficult to know what to think of it.
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