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Home , Apostrophe ('), Frank Zappa, Lumpy Gravy, On Chill, Ruth Underwood, Strictly Commercial

MUSIC Open your head

Frank Zappa, Dance Me This, Zappa Records, 2015. 48 mins 20.

In June 2015, twenty-two years after ’s its music derived from the power chord of Led Zep- death in 1993 and just before dying herself, his widow pelin’s ‘Whole Lotta Love’. Dance Me This’s musical Gail released Dance Me This, his last completed . cell is provided by a recording Zappa made of Anatolii While he was alive, Zappa’s each release mauled a Kuular, ‘throat singer’ from the Republic of Tuva in ’s idea of ‘good music’, exposing a previous identity southern Siberia. His guttural G, replete with the as partial and bigoted, trashing personal taste in harmonics repressed in trained voices, is expanded order to open new vistas. Since his death, however, in Zappa’s accompaniment to a full harmonic series, the Zappa Family Trust’s catalogue of ‘gems’ from the becoming the kind of scale Béla Bartók transcribed archive (live shows, rehearsal tapes, aborted projects) from Transylvanian gypsies. This scale ends the has been woefully disappointing. Lacking Zappa’s album in a wild dance (‘Calculus’). According to perverse and pointed meddling with value, the CDs European notions of bel canto, Kuular’s throat have lacked , precision and polemic, often is ‘ugly’, but acolytes of Howlin’ Wolf, Captain Beef- sounding merely dull. They don’t make you think. heart and (and flamenco and rai vocalists) Until, that is, Dance Me This, which – I can reliable will relish its intense physicality. As Roland Barthes inform readers of Radical Philosophy – is bona fide put it, Kuular is all ‘grain’. Zappa. True, the cover with its charcoal of doe-eyed, Anatolii Kuular, Kaigl-Ool Khovalyg and Kongar-ol mascaraed elephants is kitsch (it would never have Ondar were recorded by Zappa at his home studio in passed by Zappa, a relentless saboteur of mawkish 1993, taking part in a ‘world jam’ filmed by the BBC, collusion), but the 48 minutes within will pummel with Paddy Moloney of the Chieftains, Indian - your musical aesthetic and make you consider afresh ist L. Shankar, drummer and Johnny what is true and what is false in modern life. ‘’ Watson. At the time, the Tuvan vocal trio As early as 1967, Zappa – garbage king of the were the darlings of the global rock aristocracy, also freaks and rejects, famed for shock, obscenity and making an appearance on Chill Out by the KLF: their loud guitar – took his ‘bizarre’ shtick to the brink vocals are arresting, sounding to first-time listeners with his solo LP release , described on like nothing on earth. One guessed some digital the cover as ‘a curiously inconsistent piece which device, but none was required. The Tuvan trio opens started out to be a BALLET but probably didn’t make Dance Me This. it’. Twenty-six years later, Dance Me This is quite liter- Zappa indicated ecological concern in his œuvre ally a ballet: a soundtrack composed at the request as early as 1969, titling a guitar improvisation ‘Nine of Québécois dance troupe La La La Human Steps. Types of Industrial Pollution’. In 1972, his album It was realized on the , a digital music (’) invoked Robert Flaherty’s documentary editing console. Although conversant with ballet film Nanook of the North with lyrics aimed against music proper (Debussy’s setting of an erotic poem by ‘’ seal-trappers. Today, Zappa’s Mallarmé, L’après-midi d’un faune, vehicle for Nijinsky, Tuvan shamans have us thinking about global was a recurrent motif for Zappa), Zappa obviously warming and the Arctic ice cap. The high ‘freak’ wanted to offer La La La Human Steps something note achieved by their throat singing is uncanny, jarring: hence, his sonic depiction of Wolf Harbor, nearly beyond our hearing range, and so far above the polluted river declared ‘dead’ by environmental the musical stave it feels as if the top of your head is scientists in 1970, sandwiched between Synclavier spinning, or maybe even levitating. Konrad Bayer’s tracks built around vocals by Tuvan shamans. Der Kopf von Vitus Bering (published shortly after his Writing about Läther, a four-LP set which segued suicide in 1964) speculates about the North-West orchestral music, rock blasts, backstage chat, cartoon passage and what traversing the ‘top’ of the globe soundtracks and musique concrète in one delirious does to your sense of self. The book’s Wiener Gruppe package, composer David Aldridge showed how all surrealism is founded on psychic fact: when the world

66 Radical Philosophy 198 (july/aug 2016) is presented to us as globe, our primitive, unscientific classical form). ‘ Gavotte’ brings in a strict self (our ‘unconscious’) thinks of it as a head, our beat, a schoolmaster interrupting play with raps on head. Hence, the disappearance of the arctic ice cap is his lectern. Its key changes are purposefully irra- imagined today as trepanation, something practised tional, like Roni Size’s Reprasent or a theme-tune by Siberian shamans, and brought by them to the for a television game show which tests ‘intelligence’. Maya when Homo sapiens first migrated north from Zappa once pointed out that he liked to construct Africa, across the Arctic and then down into the easy songs as ‘garden paths’, but the point was the Americas. Specialists in Nordic history often show a ‘brick wall’ it led you to smash into (it’s the lack of map which places Scandinavia at the centre: Vikings this sensitivity to the segue, the attempt to fit Zappa have apparently penetrated the globe in every direc- into the mould of the rather than com- tion, resulting in contact with Celts, Anglo-Saxons, poser, which vitiates the ZFT’s posthumous releases). Gaels, Slavs, Arabs and the Byzantines. In contrast, In Dance Me This, the garden path is the rhythmic the Anglo-American map of the world is a stable velocity of ‘Pachuco Gavotte’: when ‘Wolf Harbor’ oblong with the same proportions as a landscape oil starts up, you feel you’ve been ejected head-first from painting. Voyages across the Atlantic and beneath some sewer outfall into the bottomless depths of the continents of America and Africa appear as the a city’s murky effluent, with no rational harmonic inevitable and obvious pursuit of ‘trade routes’. Maps explanation or rhythmic argument to cling onto. looking down from the North Pole imply something If you examine a score of Wagner’s Ring, the time entirely different (no wonder the Arctic fascinated line represented by the bar divisions sweeps through the Nazis). On Dance Me This, Zappa left us with a the layers of instructions as inexorably as the play- song of the world as old as the Stone Age, an archaic back cursor moving through a digital sound file. This throwback. But it was designed to open your head to concept of time is two-dimensional and mechanical, new relations – new relations which are being forced with no inkling of the multiple contingencies of real on us willy-nilly. objects in space (only in the 1950s and did com- Zappa was acutely aware that evoking ancient posers emulate by experimenting with different ritual through modern technology is absurd (in the tempi in single pieces). As with The Lord of the Rings, decades after Dance Me This, this Riefenstahl tactic Wagner staged archaic trappings via a nineteenth- was reprised ad nauseam in Metal, Ambient and century illusion mechanism. With Tolkien, it’s the Trance). His opener (the eponymous ‘Dance Me This’) omniscient narrator (so effectively challenged by begins with a resonant F chord which is utterly pop, Philip K. Dick); with Wagner, Herr Zeitmeister der utterly commercial, utterly ‘mainstream’. The ’s Komponist. Both were definitively pre-Einstein. repeated phrase is common to Country, Soul, Rock In ‘Wolf Harbor’ – the 28-minute, 5-movement and Reggae, deriving ultimately from the hymn book. suite which occupies the central part of Dance Me You expect a West Coast singer in the mould of This – Zappa explodes this two-dimensional concept to pipe up: the Tuvan vocals therefore of musical time. Unabashed scatology pictures the come as a shock. Then Zappa’s dependable pursuit of movement of waste in three-dimensional space; the musical extension/deviation takes over. The piano bumps and scrapes and contingencies of disgusting figure repeats, but the rhythm track is asymmetrical and dangerous things underwater – clouds of sewage, and non-repeating, out of sync, and becomes a piquant rotting carcasses, rusting and torn metal. This is spur to the vocal, which, while weird, is nevertheless not the overture to Das Rheingold, where (as Adorno breathtakingly infectious. There’s a brief outbreak of points out) the Rhinemaidens’ song in praise of the Zappa’s stadium-rock guitar (his son Dweezil’s guitar gold sounds like a jingle for margarine. rig was set up in the home studio at the time) dubbed Zappa famously derided the for idealist over the digital Synclavier . This is the sonic evasion of hard fact: scentific, political and sexual. equivalent to pasting a sixteenth-century woodcut His surrealism is the opposite of the wishful thinking of a cloud over a modern colour photograph. You are serviced by the Fantasy genre. In his recording ses- not allowed to hear Dance Me This as anything but an sions with the Tuvans, he was vastly amused that their artificial concoction. vocal sound ‘mearrrhhhh!’ resembled a comical noise The monumental shamanic introduction of his 1984 band discovered on the synthesiser. Zappa’s ‘Dance Me This’ cannot last; it’s segued into ‘Pachuco amusement is as infantile as a baby learning to blow a Gavotte’ (the title itself a typical Zappa yoking of dis- raspberry, but in his universe (as in Asger Jorn’s, with parates: a Mexican-American street style encounters his iconographic research into sticking-out-tongues)

Radical Philosophy 198 (july/aug 2016) 67 such absurdity is not negligible, it’s cosmic. Like The and percussionist loved the result. Simpsons (and the CDs and writings of Eugene Chad- Zappa chose to close the album using Yvega’s drum bourne), the gag reflex becomes a critical instrument, track (‘Calculus’): ‘By that point in the album after a perpetual pressure for invention. all the preceding escapades, some relief by way of ‘Wolf Harbor’ is a weightless, undriven tone poem mindless foom-fop is exactly what we need.’ Adorno’s with huge events passing by … water samples, per- taboo on romantic cliché works well when applied cussive explosions at various degrees of proximity, to modernist orchestral composition, but fails when bring-out-your-dead bell tolls, whine of starting recording brings in other voices and different pleas- siren, skittering like rats, unnatural colours ures. When Freddie Hubbard reprises ‘Backlash’, it’s staining distant waters, percussion as thought (tabla) the sound of proletarian pride, not bourgeois timidity. rather than its opposite (the military). There is a Zappa raided swathes of music from every social vocal sample which directly recalls one used by Paul station in society and every region of the world. He Minotto (the Zappa follower responsible for The praised the avant-garde and the obscure and the Prime Time Community ), an ‘ay yo’, which marginalized in every press interview, but never is incongruous in the manner of… garbage heaps: a gave up hopes of finding enlightened listeners in the pink plastic pig mounted on a Rothko. mass market. ‘Piano’ here follows Conlon Nancar- In ‘Wolf Harbor’ the regular space–time grid row’s player-piano works in proposing an impossible of ‘music’ is twisted and whorled. Our immersion bionically enhanced performer beyond even the likes in freely associated detail begs comparison to the of Ian Pace. It digests the music, percussion and dream emulation of Finnegans Wake. Brass samples effects of ‘Wolf Harbor’ and the dark reverberant induce the sense of pre-orgasmic waiting familiar in chord established by the throat singing into written the ‘spectral’ music of Iancu Dumitrescu and Ana- note values, insisting that musical rationality cannot Maria Avram: tension without human com- only understand unwritten music, but embellish and prehension, the sensation that ‘something’ is going extend it. Where Id was Ego shall be, and this is a to erupt, but you cannot tell when. Erotics become human and personal triumph, not a tragedy. knowledge of actuality, economic and military. In Dance Me This finishes with ‘Calculus’. Its setting ‘Wolf Harbor’, water samples are integrated so closely of Kuular’s vocal recalls Zappa using ’s avant- with the writing for percussion that the ear cannot garde percussion to reveal advanced music inside tell the difference between a water drop and atabla the hoarse ditties of . Zappa finds, tap. This suggests another parallel with Dumitrescu/ variously: Greek wedding dance twirls, Celtic harps, Avram: abolition of the difference between ‘sound as the pizzicati of Versailles fountains and the tuba used documentary’ and ‘sound as composition’. In ‘Wolf in Germa oompah waltzes. Dance Me This finishes on Harbor’ sound events are allowed to decay, so there a harmonically embellished G chord that contains is a real sense of space, yet rational accountancy still elements of the F chord the album starts with: if pursues each phrase with analytical zeal. Mathemat- this seems like an echo of the circular construction ics at the service of life! We become nature under of Finnegans Wake, this is not so much a cute liter- scrutiny; we are the event unfurling, melting the ice ary reference as a similar refusal of chronological caps, altering the globe. time and the hierarchical aspect of calendar systems. After ‘Wolf Harbor’, ‘Goat Polo’ returns to Any theme or detail may suddenly burgeon into an the shamanic vocal, with brief echoes of ‘Strictly entire universe. Like Joyce’s writing, Zappa’s music is Genteel’/‘Tuna Sandwich’, a melody Zappa wrote fractal, perpetually insisting on the same thing: that when a teenager and which threads its way through the actual state of things is the ‘imagination’ you everything he made. So ‘Wolf Harbor’ takes the lis- aspire to, and it’s happening all about you right now. tener to the brink of incoherence, but we’re not left Most which appeals to intellectuals can there: we return to Kuular’s voice and we experience be ‘justified’ only by erecting unwieldy scaffolds of his vocal, ugly and shocking at the start, as relief politics and morals from market illusions concerning and confirmation. Adorno criticized jazz players for the efficacy of images. Zappa, in contrast, was the returning to a tune, arguing it cancelled all their ’s great iconoclast: he laid down the variations. Zappa didn’t admire jazz, but he didn’t ground points of a critical philosophy by dealing with agree with Adorno on musical discomfort. When his history and politics at the level of the recorded notes engineer Todd Yvega traced the rhythms of Kuular’s themselves. vocals with obvious drum samples (‘foom fap’), Zappa Ben Watson

68 Radical Philosophy 198 (july/aug 2016)