This album was conceived while killing time at the Apple Store, waiting for my wife to pick up a new laptop for work. I saw a robotic drone on the shelf, with the tag identifying it at a “Parrot Bebop Drone”, which seemed like the perfect descriptive summary of a track I should make: parrot noises + bebop noises + drone techno. Upon returning home, I got to work on the track, jamming it out live, after which I sent it to my perennial sounding-board, Sam Jones. He said I should make more stuff like it, so I did, taking it as my conceptual framework that it would all be dubby/droney house and techno, made mostly of jazz samples.

I’m well aware that I’m part of a rich lineage in this regard, and am not troubled by a need to be self-consciously “original” - Ricardo Villalobos & Max Loderbauer’s Re:ECM and Jan Jelinek’s Loop-Finding-Jazz-Records spring immediately to mind, though there are of course other precursors. As should be obvious from my writing all over this site, I make no bones about being indebted to my predecessors and contemporaries, and feel no shame at picking up a thread left dangling by others. I’ll leave concepts like “innovation” and “newness” to those foolish enough to believe in an ever-linear notion of progress.

The artists sampled herein are Bill Frisell, Keith Jarrett, Eyvind Kang, John Abercromie, Anouar Brahem and Nels Cline. I feel a particular sense of troll-like joy in sampling Keith Jarrett, and in putting a synthesized kick drum under those samples, given his absurdly dogmatic approaches to just about everything (read the liner notes to his Bremen/Lausanne album for what I feel to be the most hilariously misguided ideological ranting in musical history). He makes wonderful music, to be sure, but if ever there was someone who needed to calm the fuck down, it’d be Keith.

The title comes from a line of dialogue from the batshit-crazy crypto-aerobic film Perfect, starring John Travolta and Jamie-Lee Curtis.

Cover art by Michael Keusch & Annelise Baer.