(Today we are very pleased to feature a post by our old school friend & comrade Sam Wander, enjoy, & say thanks at the comments box, and also at das twitter if you rock that spot)
No human has passed through a Lorentzian traversable wormhole. At least no such phenomenon has ever been reliably observed. What about sound though? Can sound waves pass through compact regions of spacetime?
I remember squeezing into a foggy basement, every other 2006 weekend. I remember melting make up. Asymmetry. Nights with abrupt endings, where we’d rub our eyes and see each other for the first time. We were dancing to The Knife. For an imperceptible moment one warm summer night, sound waves traversed to the year 1987. This definitely happened. I felt it.
Martyn Young felt it too. Re-imagining Mory Kanté’s ‘Yé ké yé ké’ for the UK 12″ release, a pulsing melody from the future wormed its way into his ear. Distorted, transformed, it somehow just matched. Augmented the Guinean love song. The surprise hit. This would be the Afro Acid Mix.
I concede this theory is unlikely.
More probable explanation follows: It’s early 2006. The Knife siblings are at their studio. The radio is on, playing an enchanting documentary about African music. The narrator is weaving his way through the 1980s period.
A startling, inconceivably deep sound begins resonating outside. Stepping cautiously into the Stockholm night to investigate, a fully formed pulsing melody worms its way into their collective ears. They rush inside, unplugging the radio, humming furiously, trying to keep it intact.
They call it multiple discovery. Or simultaneous invention. Something like that.
Footnotes: Martyn Young is the M from the M/A/R/R/S acronym. Pump Up the Volume (i.e their only release) is from that same year. He was also half of the early, and rather special, 4AD signing Colourbox.