The Panoply Academy Legionnaires (Secretly Canadian)
this because it’s now 2001 and the modern music, the new sound, the disturbed
and disturbing noises, the damaged art punk is being recorded on horse farms
in southern Indiana and shoeboxes in Chicago, no room for silence or introspection,
got to keep moving, got to keep grooving, make some sense of this multitextured
revisionist life of ours. Man and machine are indistinguishable, no less so
and certainly no more so than 25 years before. I love this sound, it’s
the sound I was reared and bred on, it’s the sound that sends my legs into
the occasional unlooked-for spasm, but it seems that as much as these four Bloomington,
IN, boys clearly think they’re creating something unique to them and them
alone, to me it merely resonates with the alienated, obscure ghosts of my past.
Or is it future?
sure that in 25 years I’ll be hearing another generation kick those drums
and silence those squealing voices at indeterminate intervals, maybe throw in
the odd disconcerting flurry of trumpet, and then speed merrily on like they’re
the only people to ever have encompassed this sound. Why, the singer even bleats
like a goat (just like Mr. Thomas). Maybe in 1950 Louis Armstrong was knocking
out oddities like these, in his slightly diseased art punk phase we hear so
little about. But I doubt it. Why is it that everything Secretly Canadian releases
features men with high-pitched voices? Now, don’t get me wrong. I miss
Pylon’s edginess and the artificial intelligence of This Heat. Badly. I’m
just not sure many others do.