Straight away into the strange realm I sense is before me. I have a particular fascination with the use of silence within musical construction. Spoons Have No Point indeed. The already other-worldly sense continues beautifully into Spacer, nice style so far and such a lovely, devil-may-care devotion to melodiousness that works so well. Nicely spirited. A profoundly good track, with some lovely noises in't. I like the stance, if that's what it's about, which is great either way basically. That is the point to the spoon with no point. It's the soul of the spoon that counts.
Friendbot Sings so sweetly and delectably digital, a fine tune. Quite dramatic and certainly dynamic, eager lyricist who finds a data flow of rhythm that suits my ears just find. I might hear acoustically but I ultimately process digitally 99:1 ratio, one being chaos at it's minimum, and is a variable variable for sure.
Then there is the cool controlled and debonair Mr.Mars, who soon ends up with mud on his shining shoes, remember the chaos but also the equilibrium, the music balances itself out again, then returns once more frenetically. Such variation actually fits together quite nicely, and again its about assimilation, especially useful in longer tracks but that's not really an issue. It ain't what you do, it's the way that you do it, and that acknowledged incorporation smacks of an acceptable poise in which to be creative. Letting it flow, like water finding its own course.
Instrumental music has so much to say and makes it more challenging to get any kind of 'point' over (we are back with the spoon!) and like I said there maybe IS the point, even when the choice is 'no' it's still valid. How I feel about taking the time to say how much I don't like something. I'd rather spend my time trying to be constructive at least. I could demure and just say, 'I like' and leave it at that, but that's just not me. I like to try and take part more.
Crystal Spoon Comet a scintillating flying through the cosmos of my imagination. A gentle lullaby for the angels. And now we are back with the chaos inherent in the cosmos, even if only my imagination, I am a subjective viewer of myself, and that chaos is here in the title of the track. When Time's Sands Spill sums it up perfectly, with a fine musicality. Starting with a classical style and that little bit of craziness that's embedded in all we do, are and everything around us, and so on ad infinitum.
Shush might be something I should do more of, sometimes I do, sometimes not. A very interesting build up of randomness into an increasingly holistic piece of musical creativity. Polyspoon C great little industrial piece of havoc, nice Intermood. The, to Planet X and the instantly wonderful atmosphere, back out there were life rules supreme. Are receiving any transmissions yet. I often joke that an alien lifeform has communicated with someone's mobile phone, but it just got deleted.
As a track it is filled to overflowing with wild diversity at times, but it all fits together so well Planet X sounds like a pretty cool place to transport to. Wipe the slate clean and start again perhaps, or would we just be transferring the worldly canker with us. No doubt about it, but that's from an inveterate pessimist. Or is it realism, at least it's somewhere on the scale being ontology and epitemology, a point in a bipolarity. X sums it up symbolically and ambiguously enough.
Xenthar seems to be that aforementioned alien life form that had its text message to humanity inadvertently deleted by someone in mistaking it for a wrong number. Doesn't sound too pleased about it, which I think to be reasonable is fair enough!-) A very dynamic track, full of intense drama and personality of the player. Nice rhythmic switch about half way through, changes the proportions of the tracks structure. Almost back breaking in comprehension. Numbers Eek Outspoon is a perfect note to finish a fine album of good musical manipulation. Thanks.
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