Because Tomorrow Comes #3 focuses on songs that either directly copy or simply reference pop music in some way, performed by artists who don't regularly work with sound as a medium . This edition kicks off with 3 songs by concrete sculptor Alexander Gyorfi — "Los Freunde", "Wintersong", and "Stacion DeGas" — each pure pop sugar and lazily executed with tongue planted firmly in cheek. "Otte" by Louise Bourgeois, "Unken" by Katharina Fritsch, and Bruce Nauman's "Violin Problem No. 2" follow as performed by Slave Pianos. "Otte" is a loping, sinister piece featuring muted piano innards and tinkling dissonant melodies while "Unken" is all frenetic plucking and tickling of keys and strings in a continuous reassembling of a fixed scale.
"Love Buzz" gets a cool re-reading by Rodney Graham, sounding nothing like Shocking Blue's version sans the opening riff, which is sampled ad infinitum with added layers of vocal overdubs and electronic warbles. Next Annika Eriksson guides the Stockholm Postman's Orchestra, Copenhagen Postman's Orchestra, and Connecticut Firefighters Pipes and Drums through interpretations of "Sour Times" by Portishead. The Connecticut version is particularly interesting because the instrumentation gives it such a different vibe. Its sparse, rattling percussion invokes another feeling altogether, sounding more 20th century Avant Garde than the loose symphonic pop feel of the Copenhagen postmen or the somber Stockholm version.
Also included here is an a cappella version of "Hey Joe' by Kristin Oppenheim, built solely on reverb and panning of the icily recited lyrics. Following that is "Atmo- Royal concert hall in Glasgow, 3-5pm, 28th July 1998" by Dave Allen, which is a recording of said empty venue. A distant, repetitive rumbling mixed w/tape noise make up the bulk of the sonic excitement here, reminding us that even an empty performance space can produce an interesting listening experience. "Father Eins" by Johannes Wohnseifer is the next piece, followed by "Amazing Grace" by Ross Sinclair, which gets a pretty traditional treatment sung in a nice Scots accent. "Wiederaufnahme" is by Christine and Irene Hohenbuchler and appears to be a cut up of a recording made during Oktoberfest in Munich, presented as an example of how the mental state of an entire group can transform with song (not to mention beer). We finish this edition with the bonus track "5 seconds" by Johannes Wohnseifer. It's a dissonant electro workout complete with black power era samples, which taken out of context may be more call-to-dance than call-to-arms. A varied compilation of people working outside their comfort zones with quite interesting and often musical results.
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