In order to correctly critique capitalist society via anthropomorphic metaphors, Animals needed some talk-box guitar solos. To capture the desperation of a rock star at war with Japanese Robots, Kilroy Was Here needed a short film. To tell the underlying love story of two merging companies, The Patron necessitates a sampler. And some foot-pedals. And probably some Max/MSP plug-ins.
Concept albums are the arbiters of new rock technologies. They're the proving ground where musicians can try out exorbitant, faddish, and gimmicky gadgets to see if they go up to 11. With its hazy abstractions and digital futzing, To Kill a Petty Bourgeoisie's concept record The Patron probably makes use of several unproven instruments, and it at least ends up with some pretty decent textures.
The album's convoluted storyline centers on some sort of abstract corporate entity and its eventual slide into betrayal and destruction. Or something like that. Vocalist Jehna Wilhelm's lyrics are too obscured among the showers of reverb and storms of glitchy distortion to catch much of the convoluted sci-fi plot. Meanwhile, the few discernable phrases tend to be oblique I-Ching style couplets like "Generous exchange/ Leave nothing to chance."
But Kraftwerk's Computer World wasn't a great record because of the clarity of its political commentary, but because, with its talking machines and analog synths, it had an amazing sound. Similarly, the crafty manipulation of gadgetry provides The Patron's best moments. "The Man With the Shovel is the Man I'm Going to Marry" slowly evolves from a soothing synth pattern into swirl of chattering drum machines and effect-heavy layered loop-cannons of Wilhelm's tiny voice. On "Long Arms", buzzing samples and distortions give way to a swelling march that recalls the spacey-headed crescendo rock bands.
Compared to the concept albums of the past, though, something seems to be missing. The Patron could use a few drums solos, maybe, or a medley or two. For all of its myriad atmospheric charms, the sampler-and-guitar set-up inhibits TKPB a little. Plodding lifeless rhythms largely dominate the record and any dynamic shifts come slowly, if at all. Not that TKPB have committed a Mindcrime or anything. The Patron's songs may have little in the way of variation or structure, but the duo's combination of pop melody and lo-bit-rate noise provides plenty of lilting and creepy moments. To Kill a Petty Bourgeoisie's gadgets don't go up to 11 on The Patron, but they do make a lot of noise.
