Music

Bride of No No: B.O.N.N. Apetit!

Roni Shapira

Bride of No No

B.O.N.N. Apetit!

Label: Atavistic
US Release Date: 2000-08-08
UK Release Date: 2000-08-14
Amazon
iTunes

The press surrounding this first release from the Bride of No No has circulated largely around Azita, B.O.N.N.'s vocalist and bassist, formerly of the Scissor Girls. While there is no mistaking her central role on this album, such treatment betrays the fact that three other veiled musicians are involved in this project. While prior knowledge of AZ's work might offer a hint of what is in store for the listener, it doesn't do much. The Scissor Girls put dissonance, repetition and theatricality to work in ways that earned them the monikers of No Wave and deconstructivist, and while these motifs are still in B.O.N.N.'s mix, it is a project that ultimately stands alone. It rocks, but in doing so it confronts the very notion of rocking. It sounds both theatrical and deeply personal. The result is pretty and terrifying, or pretty terrifying. It is complicated, and operates only on its own terms. This record violently resists context -- it is as difficult to imagine where it came from as where one might find an optimal space for listening, which might explain why I keep coming back to it.

In Powers of Horror, Julia Kristeva defines the abject as an abandoned object, which "is radically excluded and draws me toward the place where meaning collapses." I most frequently recognize my own fascination with abjection in thrift shops, marveling at jettisoned art projects, presumably crafted with care, profoundly unsettling nonetheless. I cannot think of a better way to describe this record. It challenges and repels while it sutures.

The seven tracks of B.O.N.N. Apetit! [sic] are split by the dividing line of the fourth and middle track, which is the untitled, unlisted perforation of the album. Thick, scrappy and distant, it falls in between the density of the first half and the comparatively spare and cohesive tracks of the second half. At over 14 minutes, the endpiece of the record, "At the Stranglehold Ballet," is long, taxing and compelling. Listening to B.O.N.N. Apetit! is an exercise in radical ambivalence, reason enough to go hear it.

Music


Books


Film


Recent
Film

Masaki Kobayashi's 'Kwaidan' Horror Films Are Horrifically Beautiful

The four haunting tales of Masaki Kobayashi's Kwaidan are human and relatable, as well as impressive at a formal and a technical level.

Film

The Top 10 Thought-Provoking Science Fiction Films

Serious science fiction often takes a backseat to the more pulpy, crowdpleasing genre entries. Here are 10 titles far better than any "dogfight in space" adventure.

Books

'The Kill Chain': Why America Might Lose Its Next Big War

Christian Brose's defense-nerd position paper, The Kill Chain, inadvertently reveals that the Pentagon's problems (complacency, inertia, arrogance) reflect those of the country at large.

Music

2006's 'Flat-Pack Philosophy' Saw Buzzcocks Determined to Build Something of Quality

With a four-decade career under their belt, on the sixth disc in the new box-set Sell You Everything, it's heartening to see Buzzcocks refusing to settle for an album that didn't try something new.

Books

'Lie With Me': Beauty, Love and Toxic Masculinity in the Gay '80s

How do we write about repression and toxic masculinity without valorizing it? Philippe Besson's Lie With Me is equal parts poignant tribute and glaring warning.

Music

Apparat's 'Soundtrack: Capri-Revolution' Stands Alone As a Great Ambient Experience

Apparat's (aka Sascha Ring) re-imagined score from Mario Martone's 2018 Capri-Revolution works as a fine accompaniment to a meditational flight of fancy.

Music

Chouk Bwa and the Ångströmers Merge Haitian Folk and Electronic Music on 'Vodou Alé'

Haitian roots music meets innovative electronics on Chouk Bwa and the Ångströmers' Vodou Alé.

My Favorite Thing

Weird and Sweet, Riotous and Hushed: The Beatles' 'The White Album'

The Beatles' 'The White Album' is a piece of art that demonstrates how much you can stretch, how far you can bend, how big you really are. The album is deeply weird. It has mass. It has its own weather.

Music

Sarah Jarosz Finds Inspiration in Her Texas Roots on 'World on the Ground'

By turning to her roots in central Texas for inspiration on World on the Ground, Sarah Jarosz has crafted some of her strongest songs yet.

Music

Hinds' 'The Prettiest Curse' Is One of Victory

On The Prettiest Curse, Hinds create messy pop music that captures the vibrancy of youth without being childish.

Music

12 Essential Performances from New Orleans' Piano "Professors"

New Orleans music is renowned for its piano players. Here's a dozen jams from great Crescent City keyboardists, past and present, and a little something extra.

Music

Jess Williamson Reimagines the Occult As Source Power on 'Sorceress'

Folk singer-songwriter, Jess Williamson wants listeners to know magic is not found in tarot cards or mass-produced smudge sticks. Rather, transformative power is deeply personal, thereby locating Sorceress as an indelible conveyor of strength and wisdom.

Reviews
Collapse Expand Reviews

Features
Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.