Proprioception is important, and unless you’re Oliver Sacks, you may not know this (WordPress doesn’t even recognize the word). What else will you cling to if you’re stranded at sea in a lifeboat? It’s problematic because we can’t really market this sense, or even study it independent of trauma. But then there is dissonance and dissidence. Rhythmic serialism. Which is self-explanatory enough. Some of us like it, some of us don’t. Maybe it’s traceable back to the fact that “some of us” would prefer floating in space whilst narrowly avoiding musical saws that are plummeting proximately. Or it could be that this music effectively acts as an atypical antipsychotic.
This album is like a series of rare medical conditions and the body’s body as it fights and submits to the diagnosis. Decay is fascinating, not just as an observable phenomenon, but the process, progressing in and of fascination sui generis. I don’t think decay itself or the desire to pursue it, touch it, is obscene. I think it’s part and parcel to being very much in touch with one’s body. The dead guys called it corporeality.
Yes, this music hurts. Not as in “only a flesh wound” but falling off a balance beam onto burning astroturf. The burn is incessant. The image is uncanny. This is truly marvelous but if you can’t catch the momentum you won’t get it (asteroid careening past an Oort Cloud, etc).
This album recalls that we have to keep fighting and it’s gnarly and discordant, the process. How will you get through it otherwise? Matter isn’t kind. There are rocks and CEOs and it’s brutal; seared flesh. We squeeze through it, so that we may continue to seek and release precisely what cannot be bottled by an Emperor. We publicly overexpose the public, overpowering the gradience of Good and Bad, supplanting it with spectra falling between Acute and Torrential. Because if indifference falls in the middle of the good-bad scale, that is all the scale can offer and is – (tautology, yes, but I mean think about it.)