Listening #8: Plastic Anniversary by Matmos

Matmos is a two-piece electronica project coming out of the eccentric Baltimore scene. With experience in writing albums utilizing a single sound source, their 2019 release Plastic Anniversary on Thrill Jockey Records embarks on an elaborate sonic journey using entirely the sound of plastic materials. Intensely rhythmic, colorful, and squeaky- the project sounds like a Jessica Stockholder sculpture at a dance party. Plastic Anniversary approaches musique concrete in a way which seems to draw more stylistic inspiration from modern electronica or IDM. With subject matter ranging from waste containers to drugs to silicone breast implants, in the style of great pop-art Matmos makes pointed commentary on contemporary life with less taste and precision but with added emphasis on accessibility and imaginative setting.

“Silicone Gel Implant” creates a rhythmic setting of lots of jumping, turning, and moving pieces mechanically working together like in a factory made of plastic. The lead that opens the track transforms into a sizzling pad with whining chords that squeak above it. I’m most struck by the second half of this track which introduces these very dark, buzzy sounds that almost reminds me of plucked sheets of plastic. Throughout the piece, sloshy, watery groans appear and disappear in the background just to fill the soundscape in unexpected ways.

Another track that particularly caught my attention was “Thermoplastic Riot Shield”. Naturally, the title of the track leads me to believe the main sample source of this piece was an actual riot shield, although it is not easy to tell from listening to it. First of all, this proceeds to show the incredible variety of Matmos’ bizarre plastic collection on this album. Secondly, the style of this piece was noticeably distinct to me. Without totally sacrificing the wacky and playful aesthetic of the rest of the album, “Thermoplastic Riot Shield” has a berserk, aggressive, almost rave-like sound. This shift in mood reflects the more dangerous context in which a riot shield would be used.

Matmos manages to use wildly creative sound sources that are buzzy, tinny, or squeaky with such expertise that it rarely ever sound abrasive at all. Sure, while the album may be “weird” or even a little unsettling, the attitude of the music regarding it’s own subject matter seems less critical and more imaginative and playful. I’m led to believe that the goal of Matmos was more to describe the nature of plastic as accurately as possible- which involved the usage of plastic in the creation of the piece, bright and colorful orchestration, and a playful (or perhaps even commercial) attitude towards its own conception. Above all: synthetic, perfectly inhuman.

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