One way to view WAITIKI is that it is an approach to classic exotica that highlights the postmodernist tendencies of the classic exotica era.Original works and recordings by Les Baxter and Martin Denny often exhibit the following characteristics:

• Include quotes (harmonic, melodic, or textural) from landmarks of orchestral literature or specific composers’ styles
• Rhythms of common Latin feels, played by iconic Latin percussion instruments (congas, bongo, agogo)
• Non-sequiter (even sarcastic) interjections of obscure instruments or musical ideas (including bird calls!)
• Use of standard classical (sonata-allegro, sonata-rondo, scherzo/trio) or jazz forms (AABA, 12 bar blues)

The fusion of these elements respectively turns Baxter’s and Denny’s pieces into musical pastiches of sorts and serve to obsfucate the division between “what is high art music” and “what is pop music.”

One element of postmodernism that isn’t readily found in Baxter and Denny recordings is that of “chance” (i.e. John Cage). I believe that improvisation is a form of ‘chance’ and that its inclusion throughout the various tunes we play fits in with the underlying postmodern concept.

Some elements of inclusion from the postmodernist filmmaker Federico Fellini:

• Bizarre use of perspective in imagery (i.e. those old slides Brian bought on ebay; first shown at our 2004 Lizard Lounge show, and seen in our old promo video clips)
• Jarring caricatures of everyday life (manifested in Bwana hand signals)
• Multiple layers of visual perception and subjects staring at the camera/viewer

The music from Charred Mammal Flesh is particularly influenced by Postmodernism and defines the WAITIKI sound… More on that later!