There are so many voices speaking through that instrument, it suggests a bullhorn being handed from a street preacher to a demagogue.
It’s a threatening undertone like a dark cloud that refuses to break into unavoidable rain. What the guitar has in common with the drums and the sax is an element of relentlessness, although this is expressed as long cloudy drones rather than furious action. And when (Z)erpents want to fill that space, they do – with big fudgy slices of guitar. When it’s just the drums and the sax, angry beyond reason, there’s still a very tangible emptiness, a space within the sound. Rhythmically, the two are locked, though they still both feel like they’re being played while falling down a long flight of stairs. Then a raucous, enraged saxophone, maddened beyond belief and REFUSING to shut up, suddenly appears running alongside the drums. At first it’s just the drums spattering rapidly forward, traditional snares and kicks alongside muted dull cymbals and rattling pans and trash can lids. Like a soundtrack, you can feel the music abruptly shifting from one scene to another, unheralded, uncued, shifting direction like a school of fish or a mob of protestors. Natural disasters a wall of water washing cars from the street half-finished skyscrapers collapse cracks opening in the earth’s surface. While the camera strains, image wobbling, making the most of a lack of light, there are riots in the streets armored vehicles blasting water cannons a teenager in a bandana kicks a tear gas canister back toward the line of cops. This is a soundtrack close your eyes - you can see the film.
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