Ambling along with an idiosyncratic blend of drums, electronics, and orchestral instruments, “I’m a Machine” eschews the verse-chorus-verse handhold for a noodly sort of soothing reiteration. Not your typical pop song, to be sure, but as merry and involving as any pop song worth its salt should be.
The intro sets pastoral woodwind motifs against a rattling, appliance-like sort of groaning and churning, while men chant vaguely in the background. This lasts for more than 80 seconds and, truly, somehow, I could’ve kept listening to just that–they manage a singular blend here of the free-form and the cheerful. This, I realize in a flash, is what has been missing from so many dreary efforts by contemporary classical composers to combat romantic melodicism: cheerfulness. The cheerfulness is oblique to be sure, but it’s here, swirled somewhere into the song’s circular structure, layered sound, orchestral motifs, yelpy vocals, and the overall sense of its being a sort of deconstructed folk song.
“I’m a Machine” does perhaps have just as much to do with not-pop music as pop music. I think this cross-fertilization is good for all involved, and from this Copenhagen-based quintet’s point of view, no accident, as they clearly have their collective eye on both musical and cultural history. Slaraffenland is the Danish name for a mythical land of idleness and luxury that was well-known in many countries throughout the Middle Ages (in England, it was called the land of Cockaigne). Slaraffenland was also the subject, and name, of a popular ballet by 20th-century Danish composer Knudåge Riisager. Everything is connected, especially on the internet. “I’m a Machine” is a song from the band’s Sunshine EP, released last month on Hometapes.