Porest

One person’s trash is another’s Tchaikovsky. For Mark Gergis, aka Porest, the world is a dumpster: Talk suey rots on radio airwaves, children’s tapes and audio diaries clutter thrift-store bins, public-television documentaries drone on like Ben Stein. Imagine Prude Juice as a sort of Fresh Kills symphony. “Flip for Tomorrow” mimics the rhythms of the future as envisioned by the creators of The Jetsons; a half-dozen Technicolor seesaws bouncing endlessly as different voices intone, “I’ll pick you up tomorrow morning,” a question mark dangling from their tails. For “Fist Dumplings,” Gergis splices and edits a staid children’s story of Austrian living into a brutal Brothers Grimm tale. “Skin Bitch” is actually Gordon Lightfoot’s “Sundown,” albeit unfairly and roughly tszujed, as the Queer Eye guys might say. But Gergis is at his mad-genius best when he lays it on extra weird, giving life to a Nazi robot hottie using computer voice software on “Millennial Smoothie” or trying to cram as much detritus as possible onto “Bug Duczka,” from a mutilation of the Jeopardy theme to a quick knob twist through classical stations to drum rolls to Jay-Z, his legendary bluster reduced here to a string of unintelligible syllables.