The long-lost genre of tropical ersatz haunts on in the reverberations of the past. Exotica’s problematic past, a colonialist fantasy involving ‘savages’ and drenched in Orientalism, have permanently marred it. But while Exotica and its racist overtones have long given way to (what I would like to think of as) societal progress, the Hollywood-esque cinema of the mind echoes on in both eerie and campy appeal.
Post-Exotica is this very aesthetic reverberation intertwined with contemporary societal attitudes, recording techniques, and accessibility afforded to us by the internet. Post-Exotica, as an aesthetic mode within music, lacks any unifying subculture or definitive sonic palette.
Records of the ‘post-exotic’ can range from exploring the sociopolitical to the existential, the atavistic to the alchemical, or simply act as a pining for ye olden days of ‘classy’ Hi-Fi bachelor pad music.
Without further hesitation, let’s explore these selected offerings from a genre even Bandcamp has yet to recognize. This is Resident Sound’s Guide to Post-Exotica…
Early Rumblings: JG Thirlwell, Steroid Maximus, and the post-Post-Punk of The 1990s
Around the mid-1990s, revived interest in Lounge, Surf, and Exotica music were in full swing. But it wasn’t all CD reissues and copies of the Swingers soundtrack. Artists like Southern Culture on The Skids and (dare I say…) Richard Cheese were creating new work upon recently old genres. So it’s not surprising we can look back to the 1990s as some of the earliest examples of Exotica music re-envisioned. And while retro acts made Exotica’s contemporary scene, no one else embodied the ‘re-envisioning’ aspect of Post-Exotica music better than JG Thirlwell.
You may not know him by name, but there’s a good chance you’ve heard his music. He’s the composer for famed adult animated shows Venture Bros and Archer (since Season 5), has worked with Marc Almond, Lydia Lunch, Nurse With Wound, Zola Jesus and more, and has released nearly a dozen full length studio albums under his most infamous project: Foetus.
That in mind, it’s not too surprising that his name (or one of dozens of pseudonyms) would show up on a list like this.
By the end of the 80s and into the early 90s, the more ‘artistically-inclined’ members of the Punk and Post-Punk movements were looking to expand past their genre’s established sonic templates. It’s around this time we see the formation of Virginia’s experimental Hardcore outfit Men’s Recovery Project, Germany’s Doom Jazz godfathers Bohren & der Club of Gore, and JG Thirlwell’s expansion into more cinematic, Big Band and Exotica influenced compositions with his project Steroid Maximus.
“…by 1990 I felt that I needed to shift gears and do something that was a little more challenging to me and that’s how I started Steroid Maximus, to create instrumental music that was cinematic and all the sources hadn’t been in my music before. … Since then, I explored doing large scale groups like an 18-piece version of Steroid Maximus which I’ve done in Europe and New York.”– JG Thirlwell, in an interview conducted by Daniel Volohov for Peek A Boo Magazine, 2019.
The first Steroid Maximus album ¡Quilombo! was released in 1991 and breaks all conventions. There is no pastiche, only impressions of a former sonic era. The easiest way to describe ¡Quilombo! is to make comparisons to the varied works of Jerry Van Rooyen, Raymond Scott, and Robert Drasnin, though no singular example is particularly accurate. Often lauded for his more violent overtones, Thirlwell achieves work of a greater depth, utilizing the many exotic shades of darkness often overlooked for pure black.
It’s a record that needs to be heard to understand the distance a Post-Exotica record can go. So before you go, I recommend spending a little time ¡Quilombo!
Kava Kon – Virgin Lava (2016)
At times coming across more pastiche than ‘Post’, Kava Kon’s 2016 EP release Virgin Lava is a dark and divine dive into the sonic palette of Exotica music. Not letting 50+ years of audio engineering developments go to waste, Kava Kon have brought the sultry sounds of Exotica into the days of DAW.
When asked about overlooked elements in an interview for Gravedigger’s Local 16, Kava Kon’s Nels Truesdell said:
“A lot of the percussion done on the albums Departure Exotica and Tiki for the Atomic Age was beatboxing. For example 90% of all güiro sounds were done by my mouth. Then we processed it using EQs and compressors on the recordings to give them a more realistic tone. There are so many more examples of unconventional recording techniques used on our albums.”– Nels Truesdell, in an interview for Gravedigger’s Local 16.
Featuring two remixes of Doom Jazz icons The Kilimanjaro Darkjazz Ensemble, Virgin Lava touches on the parallels of hyper-aestheticized niche genres, namely that of Post-Exotica and Doom Jazz.
Similarities include an exemplification of Hollywood cinematic themes, ‘extreme’ music genre traits (such as doom metal or noise) crossed with mid-century adult music genres, and nostalgia for periods outside of living memory. But while retro is inherently regressive, both Post-Exotica and Doom Jazz carry with them innovation, distinct sonic palettes, stylistic variants, and great potential.
Iosu Vakerizzo – Forbidden Island (2020)
Iosu Vakerizzo’s Forbidden Island is an excellent work of would-be film score. Hearkening back to pop Exotica’s ornamental novelty, Forbidden Island‘s use of sampling creates sonic depictions of a sea-side land while the album’s minimalist instrumentation creates eerie impressions of an outside world.
The site HipWax described the pop Exotica of the 1950s as “[filling] a niche curiously left open by Afro-Cuban, Hawaiian, and other related music. It is the mood music of place, but no place familiar. …One conjures a torrential rain in the tropics, a jungle safari, or the desert at night. And that is precisely the stuff of exotica: an odd combination of the soothing and stimulating, like nature itself.”
The Post-Exotica work of Iosu Vakerizzo delivers both the stimulating and soothing effect given to us by 1950s Exotica, while building off of its predecessor with the possibilities afforded by Dark Ambient music.
Resident Sound’s first view into the world of Post-Exotica was a review of Iosu Vakerizzo’s previous album The Temple. If you like Forbidden Island, we highly recommend checking out his other work here.
Strange Cousin – Knifes And Smothers (2021)
Released in February of 2021 by American music artist Strange Cousin, the single Knifes And Smothers and its b-side track Houdini Whodon’t’he are a dual approach to Post-Exotica’s sonic possibilities. The titular Knifes And Smothers is a melancholic Dark Ambient work consisting of reversed piano chords and news coverage of an unsolved 1997 homicide. Countering Knifes And Smothers is b-side track Houdini Whodon’t’he, a pummeling cinematic horror show of double kick triplets and wailing horn sections. Real ‘run through the jungle’ energy, an unsettling churning sensation.
German Army – Animals Remember Human (2020)
Animals Remember Human is one of five releases in the year 2020 by the hyper-prolific project Germany Army. GeAr, as they’re sometimes known, is the musique concrete project of Peter Kris and collaborator Norm Heston.
Inspired by the works of Paulo Freire and Sydney Possuelo, the Post-Exotica work of GeAr confronts the colonialist lens of 1950s pop Exotica which we are well familiar with.
When asked about the name German Army in an interview with Stereo Embers Magazine, Peter Kris said:
“I figured it was perfect because one can’t help but notice that at the time there seemed to be a rise in intolerance across the globe. I thought it would be a good name to take and use to actually document language and cultural extinction. Further, I wanted to critique all nationalism and focus on the actions of U.S. imperialism. You could just not bother to pay attention to the name or the message, but if you do, it is very clearly one of anti-imperialism, pro-ecology and for the cultural preservation of those disappeared or who presently have a vanishing language, culture, flora and fauna.”– Peter Kris, in an interview for Stereo Embers Magazine.
If Post-Exotica were ever to develop into a fully fledged school of work, we ought to expect the hauntological humanitarian attitudes set forth by German Army to become prototypical.
Chick Vekters – Silicon Island (2021)
Perhaps now the go-to medium of escapist fantasy, video games allow us to fully immerse ourselves in a foreign world. What’s more exotic than that?
Using the retro video game aesthetic genre of Chiptune, Chick Vekters’s 2021 release Silicon Island is rightfully self-described as “an eclectic cocktail of aural adventures!” Heavily rooted in the Chiptune’s 8-bit sound, Silicon Island still delivers the escapist fantasy of island adventure, albeit just a wee bit pixelated.
With songs like Bionic Garden, Neon Forest, and Cathode Ray Reef, Silicon Island plays to the spirit of 1950s pop Exotica, while moving past Exotica’s colonialist past.
If you’re interested in learning more about colonialism’s intersection with video games, check Folding Idea’s video Minecraft, Sandboxes, and Colonialism.
A E S T H E T I C S: Post-Exotica, Vaporwave and Aesthetic Niches
‘Post-Exotica’ is a term that has made brief appearances in the Vaporwave world over the past decade, but is Vaporwave the missing link to the development of Post-Exotica?
Vaporwave itself is a genre heavily invested in aesthetic offshoots. From iconic aesthetic-concept albums such as Frasierwave, to the more or less visual genre Simpsonswave. While built across the internet as opposed to regionally, Vaporwave, unlike Post-Exotica has managed to establish a shared set of artifacts, sonic and aesthetic identifiers, and language norms (albeit meme oriented) associated with subcultures.
Both the ability to retrofetishize and simultaneously criticize glory days of existing power structures are traits of both genres, but as a dual mode only particularly integral to Vaporwave.
Vaporwave has shown us that both the micro-genre and aesthetic genre is a place of sonic exploration, even if just as a brief layover on an artist’s greater developmental journey. Will Post-Exotica ever bridge this gap and become a fully fledged subculture and genre? Only time will tell.