1131 S. Broad Street,
Philadelphia, PA 19147

Joan of Arc

Joan of Arc

Co La

Sat, October 8, 2016

Doors: 7:30 pm / Show: 8:30 pm

The Boot & Saddle

Philadelphia, PA


This event is 21 and over

Joan of Arc
Joan of Arc
Twenty years now there’s been this thing, our band, Joan of Arc. Sometimes we forget about it and let it fizzle out for a year while we tend to our lives. Sometimes we cling to it for a year and wake up surprised and exhausted every day for months on end, given walking tours of old Italian towns, browsing dreary British pedestrian malls or barefooted organic grocers on the Pacific coast. We know how lucky we are.
The less we feel like a band—the more we can continue to be a band, but escape that feeling of doing all those shitty, corny things expected of bands—the truer to ourselves we feel. And you all know it, everyone knows it even if everyone has to bury it to get on with their day-to-day: the truer to ourselves we feel, the better everything gets. We have shifted shapes and modified our approaches quite a number of times in the course of twenty years. And we’ve done so always aiming to stay true to ourselves at that moment, by instinct and with conscious intent. This time, it took us a long time to figure out how to start back up. We threw away a lot of songs and started over, over and over.

But here’s the thing: We are getting better at being ourselves. So many of the postures of youth just fall away with time. Most bands break up by that point, or become caricatures of their younger selves. Because money is tricky, or I should say, it comes to be that energy is tricky to muster after all of it goes into the basics of sustaining yourself.

Every day, at some point, it occurs to me that Richard Brautigan killed himself at the age that I am now. But I got this community of weirdo collaborators to lean on that he never had.

We’ve never had an audience that gets any validation of its coolness through liking us. We’ve mangled, juxtaposed, and collaged too many elements for that social contract. But we trust each other.

This time, finally, we trusted each other enough to throw all the songs away, to even throw away every preconceived idea about which one of us should take position at which instrument. We hit Record and played, and our collective tastes emerged. And they, our tastes in the moment, were the only standards in all the expanse of the stupefying and beautiful unknown universe, that we regarded as relevant in the least.

- Tim Kinsella
Co La
Co La is the primary project of musician and producer Matt Papich, whose explorations of sample-based electronic music have culminated in Moody Coup.

The emotional palette of Moody Coup, Papich's second album and first for Software Recording Co., is more complex than its exuberant predecessor Daydream Repeater (NNA Tapes 2011). Where that record's relentlessly bucolic tone drew from the saccharine core of reggae, exotica, and 60s girl groups, the bedrock of Moody Coup is elusive and abstract.

The various genre coinages that have been tagged to Co La's music before – new exotica, Avant-luxury, furniture music, etc. – fail to accommodate the brainier obsessions behind Moody Coup's genesis. A new brand of alchemy occurs in the album, where cryptic sources are enhanced and embellished to a point of transcendence. This departure is the brilliant process of Co La's unpredictable electronic music.

Highlights of Moody Coup include "Remarkable Features", which consolidates the prior seismic scope of Daydream Repeater into a dance floor standout. "Deaf Christian" transforms a Neil Sedaka doo-wopper into a mesmerizingly dark House cut, complete with synth chasms and haunting voice chants (supplied here and throughout the record by Angel Deradoorian). The meticulously crafted "Suspicious" ventures into more calming pastures — an extra dimensional, dubbed-out take on the Psychic TV gem by the same name.

At the outset of Moody Coup, "Sukiyaki (To Die For)" melodically alludes to the Kyu Sakamoto song "Sukiyaki." The original was penned as a mournful assessment of post-war Japan's relationship to the US, albeit dressed by Sakamoto as a love song. Ironically, "Sukiyaki" became a hit oversees in the US and was later covered by A Taste of Honey. Rather than translating the lyrics, A Taste of Honey set new words to the original melody. (Stranger still, the word "Sukiyaki" itself refers to a Japanese hot dish.)

It's important to note that the wide range of reference sources does not serve Moody Coup as a superficial demonstration of Papich's eclectic taste. Instead, all of the micro pieces function mosaically, creating an impression at a macro level that is extremely potent as music as well as concept. Co La's intellectual obsessions are rooted in questions about how music is dilated by the cultures who created it and the power structures that shape those cultures (see "Sukiyaki"), while his musical obsessions are always rooted in the sensual, the beautiful and the immediate.

Papich describes the working Co La method on Moody Coup as "employing the hegemony of delete." He likes to be interrupted, and is fond of working in places where domestic concerns are on equal terms with studio practice. Much of Moody Coup was made in the kitchen of Papich's Baltimore home — a place where he describes having the "best interruptions." Assistant to Papich's production was friend Joe Williams, who programmed and performed all synths. Tracks were additionally consolidated from field recordings, samples and composed in Ableton Live and mixed in Brooklyn at Gary's Electric Studio, located at the Software HQ.
Venue Information:
The Boot & Saddle
1131 S. Broad Street
Philadelphia, PA, 19147