One Japanese man plus a few Germans multiplied by improv has always been a successful formula. Yes, we all know Damo Suzuki from his days with Can. On the weekend of All Tomorrow’s Parties he was scheduled to play with Jelly Planet — which was apparently not enough for the champion of capricous chants. The impending reviews of other acts that played on the weekend will enlighten the reader as to why ‘Damo’ stole the show.
…and did nothing but fit in perfectly as an added extemporizer
Regardless of what was mentioned above, the set with Jelly Planet was Suzuki’s ‘proper’ act on the weekend, and the usual blend of psychedelic improv was executed brilliantly. Damo never faltered in providing continuous mussitations over the colourful array of electronic and guitar based rhythms; an uncontrived, communally nurtured pedigree that most definitely won in comparison with the attempts of the curators the day before. Talking of the curators, Omar Rodriguez-Lopez joined the band from the very start of the set, and did nothing but fit in perfectly as an added extemporizer. It was certainly most interesting to see his trademark form — that racey digital sounding ‘notage’ — sounding cohesive in a band he didn’t shape it with or within. It is obvious that Rodriguez-Lopez has bounties of unique and pleasurable sounds to play on his Ibanez; intensified by the ability to produce these within seconds of an improvised request.
When Suzuki offered coherent and clear lyrical offerings, the whole angle of the sound was reversed, and the band instantaneously changed from supporting them slurry mussitations to breaking out hard and distinct cuts to heighten the value of Suzuki’s precise vocal preachings.
…Suzuki has immortalised himself as one of the most assiduous artists of the past century and most probably this one too
After the set, I was left amazed at the immortal synthesis that Suzuki has abided to since his very first days with Can. That is the wholly bohemian approach he applies to artistic networking. With a self-created philosophy that apparently draws inspiration from Jack Kerouac’s On The Road, Suzuki has immortalised himself as one of the most assiduous artists of the past century and most probably this one too. Suzuki doesn’t require a persona that can metamorphise between seperate egos to achieve attention in a seperate social sphere, or for being able to converse with the alternative identity. Damo Suzuki is ‘universal’, and with this post-human attribute he is one of very few human beings still discovering new paradigms for pleasure; which still — most importantly — is inticing multitudes into the comprehension of the supertemporal nature of creative output.