Fuck Buttons- Race You To The
Bedroom-Street Horrsing
I’ve previously
written about Holy Fuck and now the Fuck Buttons have turned up. I think that I
said that there wasn’t much between them- but I was wrong. Fuck Buttons are
miles better-much more innovative and not so much a one-trick pony. Although
they sort of use the same instruments (toy keyboards, Fisher Price style as
well as synths and the like) and are both largely instrumental bands, Fuck
Buttons seem to get more out of it all somehow. It’s a bit like two chefs
having the same ingredients and one coming up with a meal that’s palatable and
will keep you going and the other producing something that’s tasty and
memorable for the right reasons. (I’ve got to be careful with this analogy,
otherwise I’ll start straying into Masterchef hyperbole).
At the moment
it’s a rainy Sunday morning, 8.15 am. All the streets are quiet, and the
drizzle which has been persistent all night and through daybreak, has turned
everything a uniform shade of grey. This is forecast for the next five days and
although it’s not especially cold, I’ve got that feeling that the winter has
never ended. There were a few warm, actually hot, days mid-March but that seems
like a long time ago and it was all just a blip. A bit of meteorological
mistake.
I’m listening to
“Street Horrsing” which is playing at a really low volume so as not to wake
anyone else up. I could, I suppose, stick my headphones on, but there’s
something that seems appropriate about having this album burbling away so
quietly whilst the rain is still falling. I’m playing it at such a low volume
that it keeps drifting in and out; there are moments that I can’t hear it at
all and I forget that it’s on, and then it breaks gently through the silence
only to fade away once more. This is the difference between Holy Fuck and Fuck Buttons
in a nutshell. With the former, it only seems to make sense to play it at a
high volume; though I can play this album at such a low level and it will still
make (a different) kind of sense.
It has a
hypnotic feel to the whole thing. The tracks all seem to be quite long although
I’m not sure if any of them last for more than 10 minutes each. That makes it
sound like a bad thing, as if they go on for an interminable time, but it’s
quite the reverse-they never seems to last long enough. This track begins with
what appears to be simply white noise for a long time although after a while,
after so long that it doesn’t seem feasible, patterns and rhythms come into
view, but only faintly, not overtly. It’s as if there is something appearing on
the horizon through a fine mist. You can just about make it out, and you squint
to focus upon it, but as soon as you think you know what it is the fog rolls in
again and it’s lost from your view. You know it’s there but it’s gone.
Get/Read Totally Shuffled here
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