Greetings, practitioners of the Fresh. It is I, Zima Master Kiarondo, once more delivering my thoughts on the latest sounds that have made their way through the Infoweb this month. Pee-Nee Gorno, the incredibly talented Gulliguy behind the deeply Fresh hits “Billbop,” “Comet Girl” and “Baby Googoo,” has finally released his controversial Live from Mehnahnehru album, and I am proud to say one of our Freshest modern artists has become Fresher still. I’m also a bit disappointed to say the album is… pretty bad.
First, one must address the start of the album where the identity of Pee-Nee Gorno is revealed as a fabrication: there could be nothing Fresher than discarding your false self in favor of your truest inner nature! And that true nature goes by the name Peter Gorno. It is a truly powerful moment to hear Peter, the real Peter, triumphantly take the stage for the first time, radiating humility and grace. It is less powerful to then hear his new song “Space Town,” which is, by any metric of musical quality, is unquestionably Rodd-awful. The melody, the lyrical content, the performance - all not great.
Still, I commend our brother in Space, Peter, for exposing himself in this way. To take the stage knowing the audience hopes for the carefully calculated image you know is a lie, and present them with nothing but your naked, honest self as an artist is an act only ever undertaken by a true Freshie. That said, the next song, “Moons Moons Moons Moons” is hard to get behind. With only a suggestion of a beat behind, it’s almost as though Peter is making up the words extemporaneously. And I don’t mean to be a Wackmaster about this, but not every planet has five moons. Zima Prime, for instance, has but the one moon: Gorn. Perhaps it’s a metaphor, but if so, I am at a loss as to its meaning.
Again, I remain proud of Peter for shedding the artifice that obscured his true Freshness from the galaxy and deepening his connection to the Space. However, “Knobs and Switches” has the free-associative feel of someone noodling around on a keyboard while waiting to set up for a gig, “Stars and Lasers” reinforces his commitment to songs that are under thirty seconds, and the flip side of the album is an extended DJ set that is just Peter shushing the audience and then yelling at them for not understanding it was supposed to be record scratching sounds. Ten minutes into this, I found myself gripped by the fervent hope that in becoming closer to the Space, Peter has not found himself tempted by the Wack.
Perhaps his next album shall truly celebrate the freedom of shedding his old name, or at the very least, have a track that’s a little more danceable. Be well, noobs and papas all, and maybe wait for Peter to go back to Pee-Nee before you buy another album.