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The Komandor Pirx commands in many alien tongues in a symbiotic fashion. I've read the Cyberiad but not the tales yet, so this is a case of what I call Middle Earth Rash, I'm listening to the soundtrack of a film I've not seen and neither read the relevant book. Take Lord of the Rings, when the films came out I suddenly found myself surrounded by Tolkien readers. I had got lost in other tales by that time.
Anyway, Test is a nice track and I would have liked it longer. Patrol moves nicely, almost routinely, such sights! Albatros soars through the solar sky and glides on the winds of stars, such heights!
Terminus follows a rather sharp termination of the former track, but it is good sound that falls into my cerebrum and dissipates to the ends of my synaptical configuring of the sounds I am hearing. Myself, am I again. Busy and efficient with a terminal humming atmosphere.
Conditional Reflex, made me feel hungry when I heard it, but I don't understand why. Symbiotically flown ships, like Farscape. Brilliant stuff. Beyond Pavlov. The Hunt is very dynamic and flowing, with what seems to be a slow building of tension. And then, suddenly The Accident is upon us. It seems to be a protracted interpretation and ensuing repercussions that any trauma would necessitate. It would appear to be quite serious and, directly accountable, Pirx himself.
Pirx's Tale seems a solemn soliliquy of existential explanations set against the sufference of some sense of justice having to be made to be seen to be done, at the very least. Scapegoat or not, the larger wheels of any system will potentially grind anyone to dust, be it so merely bureaucratic, or worse. In a time and space politically I would need to read the book to digress further, to be fair. But it sounds serious and is wonderfully long comparatively. And, with a better ending. Less of a truncation.
The Inquest deliberates in its formal ceremonial seriousness. Another long and profoundly good sound as the 'facts' are announced, concerning the apparently grave matter regarding the accident aforementioned. This is the real, formal terminus. No technology but directly reflecting on the outcome of a life. I believe, the informal and essentially human one is to come.
Ananke, a gushing of emotion. The real reason behind it all, all that it was ever about. I'm probably adding two and two and getting five, but I've really enjoyed this album and look forward to the book, eventually! And the only thing I disliked was some of the endings on the earlier tracks, felt they fell short of the mark because the tracks seemed to be going about their business quite finely. All in all, a really good listen. Nice work! A fine tribute to a fine author.
Are these tracks chronologically ordered? Not that it really matters because each track stands up for itself very well, proving an undoubted and very versatile talent throughout the whole album. Quite eclectic in its sources, it's well-balanced and has a lovely general atmosphere as a constant backdrop. Nice work!-)
Quite a minimalistic chill factor. I enjoyed it and it's worth a listen if you like minimal electronica on a fairly epic scale. It's sort of a contemplation with a beat.
Title track at the top, which is where it should be, especially when, as has been said, such a good start. Nice positive energy throughout, reminiscent of Jarre or Kitaro perhaps, in places. In others with its own flair. Hopeful, and life goes on. Beautiful music. Thanks.
Ravenhurst minimal minimalism to a reasonable extreme.
Verb Transitive doesn't even give you the chance to look it up in the dictionary or recall your grammatical tuition.
Rear View Premonition, our history of the future. Are we really progressing ass-backwards, or is it just me? I like the resonance of this track, nice minimalism and still sparse, but poignant. Nice track.
Finally, The Sole of a New Machine, places the ghost where?
An enlargement I can barely discern except in sensation, all accompaniment presents me with a sense of everydayness that is sometimes unbearable. It blends into a schizophrenic nightmare of futility in existence, with the limpness of the technological fix being the satisfaction of our current problems of existence as a race, a species. There is no evidence of music and the sense of creativity would be better placed in prose than be termed as anything close to even being melodic and musical. It's simply mixed, spoken word, somewhat twisted and distorted at best. It really takes the 'ultra-minimalist' beyond a point of recognition as a track even. The whole cacophany blended into one.
Having said that if the issue at hand is the 'Human Condition' (after Huxley?) then fair comment is made and I can see where certain areas of the voice was emphasised suitably bearing in mind the subject(s) in hand. And, you are right a very acquired taste indeed.
Like a bird, it hops from one wire to the other for a start, then settles into a nice balance against the breeze of chilly but curiously fullsome minimalism. It's like a double-negative making a positive, even if only on some weird subconscious level, I ended up quite liking this 3 for 1 track.
Sheer desolation... but perhaps that's just how I am feeling? And, I can see the point about the ending of the track, doesn't really let you down gently. From that what are any of us to Derive?
Abandonment is more structured and still moving in those gargantuan cycles of sound existence. Makes me think of KraftiM's 'Ancient Species' in that it suits a Lovecraftian intepretation of old gods and unknowable structures. Music for strange entities that defy description, so if I like it, what does that make me?
The sense of abandonment feels like a dissipation of all that exists at its lowest subatomic level, again into that void, that abyss of nothingness. Blissful unawareness and lack of accountability to have to justify yourself anymore. Freedom perhaps. Very good track for reflection, like a mirror to a mortified soul. Beautifully done.
Beautifully resonating cold atmosphere in Sand In My Hand. There has to be a tacit acceptance of the futility, even if only physically. Which then makes it seem a bit bleak in outlook, so maybe focusing on things as an experience rather than positing a world-view is a way through our tangled tapestries of life. The sensation of the journey for its sake, we all will eventually 'arrive', but then the length of the track and reiteration engenders the cyclical nature of so much of nature. And that, we are inevitably a distinct, if at times somewhat curious, part of, and life goes on regardless. This seems to be backed up as the music changes its tone, as if phasic transition were underway, rehabilitation, reconstruction, revival, reflection. Irresistable...
The Leaves Are Green retains the somewhat sombre air, with lovely pulsations of organicity. A beat and melody to celebrate this joy of living and growth takes place and lighten things nicely. But then, like a palindrome it slips back into it's organic soup for a while, but the beat wins out.
Out Into The Void, tinkles like sunshine through an icy stalagtite, as you eavesdrop on the mumbled conversation the universe is going through. Flowers is a heavily scented bunch of noise and big rhythmic structures. Formidably pretty towards the pointed ending.
Glass is that rounded piece that you find on a windswept beach on a blustery overcast day. Life going on all around and no-one else in sight, just you and the world. Finished with a jazzy, percussion led flourish at the end. Life can be good and all good things must come to their end.
Poetry Blanked is harder to read between the lines, you have to be in the right mood for it, and it does need to be said rather than read. I say, hopefully you read. Nice sense of orientalism in this track, resonates like bamboo in a glissade of percussion. A waterfall of eartHbeat. I let you figure the anagram.
A Presence certainly presents itself assiduously and retains a subtle, tenuous link on you with its beautiful minimalism. Gentle layers of silky music over the unremitting backdrop, softer than rose petals. A player goes through their lines and underlines in piano noises. The fluting, again an orientalist feel to it.
Not Forever, the title track has a melancholic start but comes up smelling of roses like the Dead Can Dance. Lovely flourishes of synthetic tide.
Under A Tree resonates under layers of musical leaves as they fall. The autumn of the album. I like reading under trees.
Ants and Bees a lovely, reminiscent epilogue to a fantastic album.
If Not Forever, maybe another time.
Headsplitting scintillations assail your drums and anvils and hammers, beautifully separating your musical lobes for dissection and eventual re-animation. Just need to make a few amorphous changes to the circuitry. And, you have to stay conscious while you're being trepanned and toyed with for reflexes, some you never knew you owned. Wickedly nice noises. That was Stasis.
Destability is just that exemplified in a musical format. It actually reminds me of a mental ward and its busy atmosphere. On the edge of your seat music noise. Overflow is simply that, and is perfect in its portrayal of such a physical situation.
Interesting noise!-)
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