Music Go Music

The members of ‘Music Go Music’ met at a party in the home of a man who was, at that time, called “The Condor.”(1) Over the rager’s din we made a connection. It was mild at first, but fermented for a couple of weeks until Torg invited me and Gala Bell over to make a song together. We met several days later and, in the space of an hour, the first Music Go Music song was written. We recorded it over the next few days and went our separate ways, but reconvened enough times over the course of the following year-and-a-half to record eight more songs.

Initially, I thought that we’d play these recordings for our nearest and dearest and then lay them aside, but circumstances conspired against these plans, and now they’re working their way out into the world. Though unexpected, this is a welcome turn of events. No happier thought passes through our minds than that of a bevy of middle-aged women dancing to our music,(2) and now it seems like our vision may be within reach.

Something must be said here about the music itself.(3) Music Go Music make pop music but, fortunately, the term means very little these days. What kind of pop music is it? Rock and Roll, Disco, Metal, Boogie, Trans-Hand, Psychedelic? How does it work? Perhaps this will mean something:As we move through life, there is a “curtain of fantasy”(4) with which we cover a murky reality, a curtain on which we project a clear and comforting image of ourselves and the world. The slightest shifting of it fills us with dread. But imagine that the curtain is raised to reveal a more profoundly resonant version of what was on it in the first place; a “Technicolor” reality. So enchanted are we by this scene that we fail to notice the second, dark curtain in the background.(5)

Music Go Music’s immediate plans are to continue to make music that’s visual and funks. Hopefully we will meet you where you live.(6)

– Kamer Maza, Summer 2009

What the press has said about Music Go Music:

“When people talk about the rebirth of disco, this is how it should be, manic zombifications reanimated from the Abba songbook, wired with Philip K Dick paranoia and Donna Summer euphoria.” — NME

“They begin with a bright-eyed Scandinavian sashay and end with a ten-minute Mediterranean disco romp featuring programmed drums, making detours along the way into rainy day ballads and guitar infernos. The cumulative effect plays like the greatest hits of dance saviors that never existed…and indeed, they probably should only be performed from inside an aquadome at the bottom of the Caspian Sea, or at least during a summer-long residency in Ibiza.” — Fader

“There is a late seventies, post-‘I Feel Love’ disco feel to ‘Warm in the Shadows,’ and, whether or not it was their ambition to find that sound, it’s nonetheless a mightily refreshing dose of looseness and euphoria… One thing is for sure: the ambition for a long-lasting dynasty of overblown, slightly crackpot pop excess is there. ” – Stool Pigeon

—————–1. What happened to this man? He disappeared from us, like some wayward angel2. This may change3. This kind of thing must be talked about in abstract terms – why describe music that can be so easily listened to? Just go to a site and listen. There is no reason for me to waste your time banging on cauldrons, when an mp3 can bring the stars to pity…YOU KNOW WHAT I MEAN4. Ortega y Gasset, The Revolt of the Masses (New York: Norton, 1957), pp. 156-1575. Even if we do catch a glimpse of its folds, we are too fixed on the foreground to give them much thought6. You know what I mean