Thomas Jefferson seems to have been obsessed with innovation for its own sake, and I think he would have appreciated how well hip-hop represents the rhythms that result from modern innovations. There's innovation and originality in relationships too, and I've often thought that it's the small moments of private wit, like a passing, brilliantly-conceived bit of cute talk on the part of a girlfriend or wife, that should be counted among the most valuable things in life. As for the remaining texts and subtexts in the song, I leave that up to you. This is the second track from what I plan as my first all-Tapegerm album, and it's in keeping with the spirit of the first one I posted. Credits: Tapegerm Resident Artist loops by DJ Get Yo Fat On Open loops and Blind Mime Open Loops, Soul Bossa Nova by Quincy Jones, Picking Up Girls Made Easy from Hyde Park Records (1975)

Someone, I forget who, once described Willem de Kooning's "Woman" series as records of battles rather than finished paintings, and I feel a bit that way about this song. Nevertheless, how can one go wrong when dealing with the subject of pirates? This is another result of my obsession with timbre and its possibilities for emotional expression. This being track three on my all-Tapegerm album, I'm trying to continue exploring the album's theme while increasing complexity. I was reluctant to end with another revealing-the-process finale, but it worked so well I just had to do it. I think the repetition will put a listener off guard, which isn't bad at all. Credits: Tapegerm Resident Artist loop by David Fuglewicz Open Loops, unused and used source audio from the original Pirates of the Caribbean ride

True to form, here's another production in which I use found sound like onomatopoeia, approximating the timbres of emotion rather than translating nonverbal sounds into words. I'm particularly happy with the middle section, which is structured to be a loving parody of old-fashioned modernism in music, once shocking but now past 100 years old. This section is composed entirely of my LP sound source, a recitation of low-grade, Song-of-Solomon-style erotic poetry. Enjoy! Credits: Tapegerm Resident Artist loops by Hal McGee Open Loops, Nights of Love in Lesbos LP from FAX Records (1962)

Attention to transitions is at the heart of all I do with sound. Here's where I play at that fine American sport, biting the hand that feeds me. Inspired by Andy Warhol, Jeff Koons, and others, I've sought an intentionally confounding balance between high and low, between sound art and pop music. My musician leanings have been boring me lately, so I'm feeling more sound-artisty now. This piece is longer, more repetitive, and, since it represents a shift in my focus, features a couple of sudden and surprising changes. Credits: Tapegerm Resident Artist loop by Ed Drury Guest Artist, M'bira by Martin Denny (1958), The Girl from Ipanema by Antonio Carlos Jobim (1962)

I think that the famous equation of Mr. French Absolutism himself, Louis XIV, sounds much finer than "who's your daddy," don't you agree? When seeking and manipulating the quirks of a woman's nervous system (to her benefit of course), is the state not me? By the way, fellas, when I searched for source audio with term "screaming orgasm," most of what I found involved acts using a big, silly machine! Isn't it time that the men of the USA boned up on their technique, so to speak? Or is that just a French thing? Credits: Tapegerm Resident Artist loops by Buzzsaw Open Loops

For those who took my sexual arrogance at face value, that is, if anyone out there has been paying attention, here's where I get a little more sensitive. That confidence of mine is a sort of self-parodying act, but executed with such sureness that it ends up being true in a more palatable, and actually more persuasive, way. Now, I'm allowing for the female perspective, but of course I'm still a man culturally constructing sex. I remember the confused look on the face of a hardcore feminist I once knew when she offered to buy a picture of mine that was sexually objectifying a woman, but lovingly. I'm continuing to show that the battle of the sexes is 100% pure crap, and that a synthesis of interests is possible. I might note that the combination of sex and Alice in Wonderland was the subject of my very first sound experiment ten years ago, and that the notion seems as fresh as it did then, maybe even fresher. Credits: Tapegerm Resident Artist loops by Mental Anguish Open Loops, the Alice in Wonderland "See, Hear, Read" record and book (1979), The Story and Songs of the Orange Bird Starring Anita Bryant from Disneyland Records (1971)

The full title, which wouldn't fit, is "So Polygamy is a Crime Even If the Brides Are Identical Twins?!" Hm! Some free country, eh? Da noive! Credits: Tapegerm Resident Artist loops by Contagion, Majestic Twelve Guest Artist, and Yuroun Guest Artist, as well as the Donald Duck and His Friends Sing a Song LP (1963)

WEB SITE

MEMBERS
Peter Le Zotte

LOCATION
AMERICA NORTH: USA:Florida (FL)

INFLUENCES
Sound loops piped in to speakers at theme parks, the sensations of my own body, female body fat or lack of same.

SOUNDS LIKE
Music is a language in itself, and is weakened as words are applied to it. I hope my music just sounds like music.

offline since:

So Polygamy is a Crime...
"Oh, dear, I meant 20th century. Is writing comments on your own song like talking to yourself?" -- theghostslounge (on 07/22/08 00:36:11)

So Polygamy is a Crime...
"Touche Mon Ami." -- davefuglewicz (on 07/22/08 00:29:09)

So Polygamy is a Crime...
"I think that would be polyandry, actually, but please let's not get into linguistic activism now! It's sooooo 30th century!" -- theghostslounge (on 07/21/08 14:54:32)

So Polygamy is a Crime...
"Assuming that the twins are the brides eh? Why not the husbands? tsk tsk. Hah, another groovy ghost go-down!" -- davefuglewicz (on 07/19/08 23:41:46)

My, Grandma, What a Long Tongue You Have!
"It sounds like a Seal band playing horns and rubber bands. And I can dance to it. Great!" -- The Tortoise of Commenting (on 07/17/08 03:56:49)