Being music geeks—not music nerds, who hold their special knowledge over others to feel powerful—we here at TKDF want everyone who doesn't already know about Brian Eno and Peter Schmidt's Oblique Strategies to hear the good word.
Traditionally the Strategies take the form of a deck of cards, and they are intended as tools for when one gets stuck while doing creative work. They are used to challenge preconceptions and allow one to see things suddenly from a perspective where the problem doesn't exist or doesn't matter. Being fans of Eno in general, we decided to approach the problem of the show with the Strategies in hand. This tells you two things: 1, we sometimes felt doing the show was a "problem", and 2, we like using tools.
If we didn't tell you what Oblique Strategies were, could you tell that this show was produced in a different way? Probably not. It has an appealing, shuddering shimmer of a heartbeat for much of its length, but the component sounds and overall show-shape are within the usual range of loopitude, non-sequiturism, uneasicity, dynamicision, and intentional cruftage. Which is not to still wholeheartedly recommend the Strategies for any and all problems that may arise. As one of my favorite cards exclaims, "Try faking it!"
- Responding to pulses
- Crackly backward-chanting doctors
- Tense, endless Italian New-Wave
- Metallic abrasions
- Whistling from behind the curtain
- Almost-dub The Letter
- Frothing and boiling over onto the mixing console
- Cavernous, sappy, soulful, pouncing
- Boomerang yodel
- Endless-er 'cause it's slower
- Toads and diseases while channel-surfing
- An existential question
- The strategies call for an Ambient 4 coda
