The Explosive New Album by Darcy James Argue’s Secret Society Explores the Menace and Monkeyshines of Conspiracy Theories
The term “conspiracy theory” was invented by the right wing as a facile way to dismiss investigative reporting, lumping it in with farcical myths about aliens and Zionists. As actor James Urbaniak narrates at the end of Real Enemies – the groundbreaking new album by innovative large jazz ensemble Darcy James Argue’s Secret Society, streaming at Bandcamp – the right wing has actually been responsible for spreading many of those theories as disinformation in order to hide their own misdeeds. Argue and his eighteen-piece big band explore both the surreal and the sinister side of these theories – “You have to choose which ones to believe,” the Brooklyn composer/conductor told the audience at a Bell House concert last year. This album is a long-awaited follow-up to Argue’s shattering 2013 release Brooklyn Babylon, a chronicle of the perils of gentrification. The group are playing the release show on Oct 2 at 7 PM at National Sawdust; advance tix are $30 and are going fast. From there the band travel to the Boston Museum of Fine Arts, where they’ll be playing on Oct 7 at 7:30 PM; general admission is $25.
Although Brooklyn Babylon has the occasional moment of grim humor on its way to a despairing oceanside coda, this album is more overtly dark, but also funnier. Conversations between various groups of instruments abound. Most are crushingly cynical, bordering on ridiculous, in a Shostakovian vein. And once in awhile, Argue lifts the curtain on a murderously conspiratorial moment. A prime example is Dark Alliance, an expansively brassy mashup of early 80s P-Funk, salsa romantica and late-period Sun Ra. And the droll/menacing dichotomy that builds throughout Silent Weapon for Quiet Wars is just plain hilarious.
The album opens on a considerably more serious note with You Are Here, a flittingly apt Roger Waters-style scan of tv headline news followed by tongue-in-cheek, chattering muted trumpet. A single low, menacing piano note anchors a silly conversation as it builds momentum, then the music shifts toward tensely stalking atmospherics and back. The second track, The Enemy Within opens with a wry Taxi Driver theme quote, then slinks along with a Mulholland Drive noir pulse, through an uneasy alto sax solo and then a trick ending straight out of Bernard Herrmann.
With Sebastian Noelle’s lingering, desolately atonal guitar and Argue’s mighty, stormy chart, Trust No One brings to mind the aggressively shadowy post-9/11 tableaux of the late, great Bob Belden’s Animation. Best Friends Forever follows a deliciously shapeshifting trail, from balmy and lyrical over maddeningly syncopated broken chords that recall Peter Gabriel-era Genesis, to an explosively altered gallop with the orchestra going full tilt. Likewise, The Hidden Hand builds out of a blithe piano interlude to cumulo-nimbus bluster.
The Munsters do the macarena in Casus Belli, a scathing sendup of the Bush/Cheney regime’s warmongering in the days following 9/11. Crisis Control opens with a mealy-mouthed George W. Bush explaining away the decision to attack Afghanistan, and contains a very subtle, ominous guitar figure that looks back to Brooklyn Babylon: clearly, the forces behind the devastation of great cities operate in spheres beyond merely razing old working-class neighborhoods.
Caustically cynical instrumental chatter returns over a brooding canon for high woodwinds in Apocalypse Is a Process, seemingly another withering portrait of the disingenuous Bush cabinet. Never a Straight Answer segues from there with burbling, ominously echoing electric piano and Matt Clohesy’s wah bass, talking heads in outer space. The apocalyptic cacaphony of individual instruments at the end fades down into Who Do You Trust, a slow, enigmatically shifting reprise of the opening theme.
Throughout the album, there are spoken-word samples running the gamut from JFK – describing Soviet Communism, although he could just as easily be talking about the Silicon Valley surveillance-industrial complex – to Dick Cheney. As Urbaniak explains at the album’s end, the abundance of kooky speculation makes the job of figuring out who the real enemies are all the more arduous. As a soundtrack to the dystopic film that we’re all starring in, whether we like it or not, it’s hard to imagine anything more appropriate than this. And it’s a contender for best album of 2016.