What is – or rather: what could be – a “Pruttipal Index”? In books, libraries and databases, an index is usually a concise overview or inventory. It suggests that this album could be a mini-encyclopedia of the work of its makers. In economics, indexes are measurements of the current state of an economy; which, in the case of this album, could be a vitality metrics of the Goodiepal & Pals/GP&PLS/BananSkole collective that produced it. In semiotics, an index is a sign that functions as a trace (like smoke as an index of fire). Because of their technology, vinyl records are indexical (with their grooves being indexes of sound waves), but in addition, this album could also be seen as a series of sonic traces, or footprints, left by the various activities of GP&PLS and Pruttipal over the eight years of their collective existence.
Everyday life, creative and social practice, learning and experimentation are constantly interwoven in these recordings. This is reminiscent of other experimental living, learning and music-making communities since the early 1970s, such as the French experimental ICEM/Freinet schools.
While the solo artist also known as Goodiepal can still be heard on this album – in spoken tracks and what sounds like half-improvised electronic pieces -, s/he has become gradually disguised and dissolved. The “Pruttipal Index” is thus a record of their latest self-reinvention, as they have been reinventing themselves periodically since the 1990s, including their latest identity Pruttipal, taken from the Danish word “prut” meaning “fart”. Pruttipal may have become a boring old fart, or the fart may be a joke on the perceived noises of experimental music or the seeming casualness of the recordings.

There is, audibly, an eclectic stylistic mix of theater, group improvisation, choirs, folk music and children’s songs, campy-ironic modular synthesizer electronics, highly-produced art rock and no wave jazz, heavy metal, techno, punk and catchy Scandinavian dance pop tunes interspersed with mock-conspiracy podcasting. Much of it could be called functional music derived from collective social performances to be reused for new collective social performances.