The future is then.
Listening again to Deaf, I was struck by how closely it matched the DNA of Chico's seminal X Factor classic "It's Chico Time" not just in the stutteringly orchestral postpunk funk but also in the unswerving desire to manipulate the world into a solipsistic bunion of sound, where various semi-random appropriations from pop culture are reabsorbed into a unitary blaze.
Chico and Foetus both recognise the impossibility of qualia and resolve instead to go it alone; working to their own spastic rhythms, influenced by the world they seem to hear around them but independent of it, charging blindly down dead-ends and back-alleys (allies?).
There is only Chico time, only Chico; everything is Foetus...
I stopped listening to Foetus when he stopped changing the name every record. The name change was the record, Foetus as a band name or even a name for a person made no sense at all. I'm not really sure what the records under the single name are like - the one's I've heard briefly were rather linear, 'metal' rather than metallic - or at least that's how i remembered them because the lack of name change distracted me completely from the listening task. I wanted to hear if Foetus Under Glass had different tastes to Foetus Uber Frisco; if Scraping Foetus Off The Wheel had similar lyrical concerns to Foetus All-Nude Revue...
Once it was plain Foetus I felt I already knew the answers. And this is precisely where Chico went wrong, why he won't be back with a vengeance (that and he's a bit crap, obv.). If he'd released the first record as Hiroshima Chico' Mour then the second (Chico Art Threat) would have come. The third (Arbeit Mach Chico) would have barnstormed the download charts, leading the way to the release of the triple CD and E-Z Kline photonovel There's A Chico In My Sloop.
A Yousendit Oblong Deviation
A Younsendit Ernest Hemingway Art Attack