By: Maple Graham
- “But this kind of dispossession is of course a precondition for the most potent writing and performance.”
Dialogue between two characters, along with added samples and instruments. The dialogue is made from voice clones—of which I think are utilized in a less creative fashion than some previous uses. Either way, it’s tolerable, so I give it a 2/10.
- “Writers have to tune into other voices[…] performers must be capable of being taken over by outside forces –”
The last song’s bit of reverb. Could be omitted entirely, and it seems like an ultimate waste of space like “[…] in all spheres of social life the lion’s share falls to the middleman. […].” 1/10, it adds nothing.
- “Rocky Mountain High ([phoenix] w [no pathology] [inherits] to [enlighten] @ [your estate]) ([dAdDyDaDdYdAdDyDaDdY_!!])”
This song leans much more into the actual soundscape bit, and less of lyrics. It utilizes various string instruments and keeps the mix ephemeral: roughly cutting out bits rhythmically and keeping the progression unpredictable. I really enjoy this track—I give it a 6.5/10.
- “[…] in such epochs of revolutionary crisis folx anxiously conjure up the spirits of the past to their service,”
Various bits of ‘folx’ and other media being poorly spliced together via radio surfing. It’s nice, but this was already done before in the context of ‘folx.’ 3/10, it works well as a transition, but it loses points for a lack of originality.
- “borrowing from them names, battle slogans, and costumes in order to present this new scene in world history in time-honoured disguise and borrowed language.”
Two snares, followed by silence. 1/10.
- “Can the Circle Be Unbroken (By and By) ([valkyrie] w [no pathology] [retires] to [release] [the song]) ([fOrCiNg_tHe_dEaD_InTo_tHe_sOnG_WhEtHeR_ThEy_lIkE_It_oR_NoT])”
This song starts off very original, as multiple vocal takes are spliced together to create a bit of a snapping effect that is in sync with the main rhythm, before going into a punchy chorus for the first bit of the song. In the second half of the song, it changes to a purely synthetic beat which is somehow even more defined than the previous bit, and it decays over time to a noisy, blaring synth that roughly orchestrates the rest of the mix. I really enjoy this track due to how assorted it sounds, and I do wish it was longer despite using its runtime proactively. I give this a 7.5/10, it’s super catchy, and is a highlight of the album as a whole.
- “These “luminous new landscapes” were worlds beyond work, where drudgery’s dreary repetitiveness gave way to drifting explorations of strange terrains.”
Guitar, taken from “Mr. Bojangles”. If there’s a reference or a reason as to why this is placed here, I would give it something higher than my current 1/10.
- “Listened to now, these tracks describe the very conditions necessary for their own production, which is to say, access to a certain mode of time, time which allows a deep absorption.”
The last segue, consisting of voices transitioning directly into the next entry. 1/10; why not add it into the next song or cut it entirely?
- “Old Man ([satyr] w [object schizophrenia] [volunteers] to [dance] @ [his private care home]) ([mUsIc_iS_My_hObBy_oR_SoMeThInG])”
Very similar to “This Land is Your Land ([hobgoblin] w [stockholm syndrome] [loiters] to [serve] @ [his estate]) ([uNcOnDiTiOnAlLy_sUbMiTtInG_To_hIm_cOmPlEtElY]),” this is a rough demo, obviously recorded in an unprofessional setting. 5/10—it works well as both a song and the last longer track on the album.
- “Dear friend, I give you what you need, but you know the necessary condition; you know the ink in which you have to sign yourself over to me; in providing for your pleasure, I fleece you.)”
Silence. 0/10.
- “— nothing new here, the old man gamely and tirelessly going over his favourite riffs, once again —”
As advertised—an unprofessional recording of some riffs and chords. 2/10.
- “Does this story have an ending? Can an analysis be ended, can the process of analysis be terminated, yes or no? Can it be completed, or is folx condemned to a constant self-perpetuation?”
A single guitar chord being interrupted by the jarring end to this album. 2/10.
In conclusion, this album is a perfect example of modern maximalism, and one that is a relatively safe introduction to the genre. Though it might seem the majority of my reviews for each song showed a general dislike for the album, there’s only a handful of longer songs from the album that aren’t just noise or transitions. Of those, the average score is bumped up to a rating closer to a 7/10. This album is massive, and it’s a decent listen as well, so I would highly recommend anyone that has interacted with this article to go out and listen to it for yourself!
