Chat Pile - 2024 - Cool World

 

Flenser Records – FR164

A gigantic cross rises from an Oklahoma field beneath a sky from which nearly every color has been drained. It does not stand on a remote hill, in an old cemetery, or beside a small country church. Traffic lights, road signs, electrical lines, parking lots, trimmed grass, young trees, and commercial development surround it. The sacred symbol has been enlarged until it behaves like municipal infrastructure, visible from the interstate and proportioned to compete with retail signs, office buildings, and the endless horizontal scale of American roadside life. Above the photograph, Chat Pile’s logo hangs like dead roots or blackened nerves. COOL WORLD appears beneath it in restrained gold letters, as though naming a respectable property development.
The photograph does not mock belief. It asks what happens when belief becomes architecture enormous enough to dominate the horizon while mercy remains difficult to locate at ground level. A cross can signify sacrifice, forgiveness, divine love, suffering, execution, resurrection, and an obligation toward the abandoned. Enlarged into a monumental landmark overlooking shopping and traffic, it also becomes advertising. The symbol remains visible while the ethical demands associated with it risk disappearing into scale.
This tension runs throughout Cool World. God is present in the language, but intervention is uncertain. Fathers smile beneath statues. Children die in their parents’ arms. Men kneel in halls built to honor earlier men. People are bought, sold, ordered, masked, filmed, and taught to mistake obedience for virtue. The cross towers over everything, yet the world beneath it continues organizing itself around extraction and violence.
“Cool” is one of the album’s most unstable words. It can mean fashionable, emotionally controlled, socially admired, indifferent, or slightly cold. The planet is becoming dangerously warmer while culture instructs everyone to remain cool. Do not react too strongly. Do not lose composure. Do not become embarrassing. Watch the footage, register an opinion, continue scrolling, and maintain sufficient detachment to function tomorrow.
The title also carries Ralph Bakshi’s 1992 film Cool World, an infamous collision of live actors and animated bodies in which the boundary between representation and reality becomes dangerously permeable. Chat Pile does not construct a concept album about the movie, but its title suits music obsessed with what happens when images cross into lived experience. A filmed killing is still an image, yet it changes the person watching. A body on a screen remains distant, yet knowledge of its suffering enters the room. A fictional monster can clarify actual violence, while actual violence is increasingly consumed with the distracted habits once reserved for fiction.
God’s Country examined American horror at close range. Its slaughterhouses, homelessness, shootings, addiction, local murder, poisoned ground, and private psychological collapse belonged to specific rooms, streets, lakes, workplaces, and bodies. Cool World pulls the camera backward. The local landscape remains visible, but Oklahoma becomes one province inside a planetary system of war, empire, climate breakdown, media circulation, and inherited servitude.
Pulling backward introduces danger. Seen from sufficient distance, suffering becomes statistics, borders, policy, military objectives, demographic change, market consequence, or content. The individual disappears into scale. Chat Pile answers this danger by moving repeatedly between panoramic systems and injured flesh. The album speaks about colonialism, war, and ecological ruin, then returns to skin, teeth, knees, eyes, blood, gloves, hands, mouths, and children held by parents. Large systems become morally legible only when their effects are restored to bodies.
“I Am Dog Now” begins with a soft electronic atmosphere that lasts barely long enough to suggest expansion before the band drops through it. The riff does not arrive as a triumphant opening. It lands like industrial material emptied from height. Cap’n Ron’s drums strike with controlled disorder, Luther Manhole’s guitar grinds through several layers of surface, and Stin’s bass gives the entire structure a floor capable of moving.
The title sounds initially ridiculous, another phrase from the same imagination that once produced a song called “grimace_smoking_weed.jpeg.” Its humor evaporates as the transformation becomes clear. The speaker has been treated as something less than human until human obligation no longer seems binding. If the world denies a person dignity, shelter, agency, and recognition, why should that person continue behaving according to rules established by those who denied them?
Rousseau’s claim that people are born free but found everywhere in chains sits behind the song. Chat Pile changes the chained citizen into a dog, an animal simultaneously domesticated, loved, controlled, abandoned, trained, caged, weaponized, and punished. “I am dog now” can mean degradation, but it can also mean release from the demand to remain civilized while being brutalized.
The song’s dog has no cage because the whole environment has become confinement. There is nowhere to go, no clean outside from which to observe the system, and no authority capable of restoring the damaged body to an earlier state. Yet the transformation produces one stubborn equality: everyone bleeds. Uniforms, borders, wealth, rank, ethnicity, ideology, and official language may distribute value unevenly, but the body exposes the lie beneath those hierarchies.
“Shame” follows without offering symbolic distance. Its music is strangely beautiful, with guitar spreading in broad, luminous sheets while the vocal remains near the center of an atrocity. This beauty is not consolation. It resembles the unbearable clarity with which horror can suddenly be perceived after years of abstraction.
The song begins with ignorance. The narrator once believed his eyes were truthful and that violence performed by his side possessed moral legitimacy. Propaganda does not always require a complete lie. It requires a frame narrow enough to exclude the bodies whose presence would complicate the story. Friends appear threatened, enemies appear inhuman, bombs become necessary, and destruction becomes evidence that justice is advancing.
Then the frame widens. Children come apart in the arms of those trying to hold them together. Human skin is destroyed through methods whose technological variety exceeds every moral vocabulary invented to excuse them. The song does not offer grotesque detail for the thrill of transgression. It insists that phrases such as collateral damage, strategic necessity, retaliation, security, and proportional response conceal what explosives do to flesh.
Fathers smile while statues rise. The image links military inheritance, national mythology, public commemoration, and paternal approval. Monumental history cleans violence by converting it into bronze, stone, ceremony, and family pride. The dead become heroic abstractions while the living wounded remain difficult to display. A statue preserves posture but removes pain.
God remains silent, but the silence does not automatically become proof of divine absence. It may instead indict the human tendency to demand supernatural intervention while ignoring the responsibilities already placed within human reach. People manufacture the bomb, select the target, release the weapon, explain the result, and then ask why heaven permitted it. The question is sincere, but it can also become a method of shifting agency away from the hands that acted.
The song’s most important movement is toward shared tears. Grief crosses borders more successfully than governments do. A parent mourning a child does not become less human because a map, religion, military alliance, or television network has placed that parent on the wrong side of the screen. All tears come from bodily sources that political language cannot distinguish.
“Frownland” retreats from the battlefield into a person who cannot make speech reach other people. Its title points toward Ronald Bronstein’s film about a man whose need for connection repeatedly produces further alienation. Behind the film title stands Captain Beefheart’s older “Frownland,” giving the word a strange history of its own: an invented country made from misery, social friction, and language that cannot behave normally.
Chat Pile’s Frownland is a private nation whose borders are masks, pain, night, disappearance, and the certainty that nobody wants to hear what the inhabitant needs to say. The song is comparatively restrained, leaning into gothic repetition and 1990s alternative melancholy rather than constant blunt force. This musical space allows vulnerability to appear without making it safe.
The mask is both protection and erasure. Pulling it down may permit escape from judgment, but it also removes the possibility of being recognized accurately. A person may hide because the social world has proved hostile, then experience the resulting invisibility as confirmation that nobody cares. Defense produces the loneliness it was designed to prevent.
The gates of heaven appear not as radiant welcome but as something rough and awful. Salvation itself has become another threshold guarded by pain. Every movement hurts, yet the sufferer is reassured that it is only night, only temporary darkness, only something that should be survived quietly. Such reassurance can become cruelty when it demands patience from the injured while requiring nothing from the conditions causing injury.
“Funny Man” returns to public violence through the body of a servant. The title conjures jester, entertainer, disposable worker, soldier, fool, propagandist, and man required to smile while carrying out orders. He kneels upon pearl and onyx in a hall of trophies dedicated to his father, surrounded by evidence that inherited prestige was purchased through somebody else’s blood.
The song is one of Chat Pile’s most exact compositions. Its opening rhythm seems to tumble through several competing accents before locking into a muscular metal form. Stin has described it as their compact Beavis and Butt-Head heavy-metal song, and its blunt pleasure matters. The track can be enjoyed physically even while describing the generational machinery that converts poor families into military labor.
The funny man gives everything requested and is still told to dance for his supper. Service does not produce belonging. Sacrifice does not guarantee dignity. The institution consumes his body while allowing him to imagine that he is preserving the honor accumulated by those before him.
His hands are strong, but strength does not create freedom. Those hands kill the people selected by others. The worker’s body supplies the force while distant figures move pieces across decorated surfaces. This is the division of labor at the heart of organized violence: one class decides, another class travels, another class is killed, and history later distributes moral language according to power.
The cruelest revelation is that the sacrifice does not conclude anything. The father’s trophies lead to the son’s body, and the son’s blood becomes the beginning of another chapter rather than the final one. War presents each generation with the fantasy that one last sacrifice will secure peace for those who follow. The machine survives by renewing that promise after every failure.
“Camcorder” and “Tape” form the album’s central diptych. Both concern mediated violence, but they occupy different sides of the camera. “Camcorder” is slow, narcotic, and spacious, built around the seduction of recording and replay. “Tape” is nervous, clipped, and increasingly panicked, concerned with the person who encounters recorded horror and realizes that seeing has created an obligation.
“Camcorder” draws from Henry: Portrait of a Serial Killer, particularly the film’s treatment of murder as something recorded, replayed, and watched. The camcorder is not a neutral witness. Its presence changes the act by creating a future audience. Violence becomes performance, possession, souvenir, proof, and entertainment.
The singer watches the world change inside his hands. This is literally what a portable camera permits: reality is framed, reduced, stored, rewound, and replayed through a device held by one person. The scale is godlike. Time can be stopped and summoned again, but only within the narrow rectangle selected by the operator.
“Let’s watch it again” is the album’s most quietly damning impulse. Repetition may arise from disbelief, investigation, grief, fascination, arousal, numbness, or the hope that another viewing will finally make the event comprehensible. The image does not reveal why we return. It merely remains available.
Contemporary spectatorship has made this compulsion ordinary. War, police violence, accidents, murders, abuse, and dying bodies enter the same devices used for jokes, advertisements, meals, music, and messages from friends. The thumb moves each item upward with the same gesture. Horror appears between entertainment and may be replayed before the person has decided whether witnessing it is ethical, useful, or damaging.
Looking away can feel like abandonment. Continuing to watch can become consumption. The viewer is trapped between refusing another person’s suffering and turning that suffering into an image used for private emotional experience. There is no universally pure position.
“Tape” shifts to the witness who enters a place, finds evidence, and wishes somebody else had been responsible. The rhythms turn tight and mechanical, with a bass figure and guitar pattern suggesting a system whose motion has become increasingly difficult to stop. The lyric is fragmented, as though complete sentences require a calm the speaker no longer possesses.
The horror exists materially on tape. It can be handled, copied, hidden, shown, submitted as evidence, or destroyed. Unlike memory, the recording does not permit the witness to persuade himself that perception was mistaken. Something happened, somebody preserved it, and somebody else must decide what to do with the knowledge.
The narrator wishes another person had entered first. This is understandable and morally revealing. People often want wrongdoing exposed while hoping not to become the individual upon whom the burden of exposure falls. Discovery creates responsibility, danger, disbelief, legal complication, and permanent mental imagery. Somebody needed to see, but why did it have to be me?
The companion songs also describe the wider circulation of atrocity footage. One person records, another uploads, another watches, another shares, another verifies, another denies, and millions absorb a few seconds before the feed continues. The image may become essential evidence and still injure everyone required to examine it.
“The New World” moves from recording technology into colonial time. The phrase “New World” has traditionally named land from the perspective of those who arrived and declared discovery, erasing the civilizations, languages, laws, relationships, and histories already present. Newness belongs to the conqueror’s perception, not the land.
The song imagines people dragged into this new world kicking and screaming. That movement can describe forced migration, enslavement, displacement, birth, historical transformation, or consciousness itself. Nobody consents to being born into a political and economic order already operating according to laws they did not choose. Arrival precedes understanding.
The repeated sequence of being lost, made whole, bought, sold, stripped of hope, separated from God, taught hatred, and delivered into law turns civilization into a processing system. “Law” arrives at the end not as justice but as the final mechanism by which violence becomes legitimate. Once cruelty has been formalized, it can present itself as order.
The skull speaks truth because death has no investment in the official story. Flesh can be uniformed, ranked, racialized, disciplined, rewarded, and punished. The skull beneath it reduces those distinctions to temporary arrangements. Wind moving around rock becomes an older voice than the empire claiming ownership of the landscape.
Oklahoma’s history remains inside this global vision. Indigenous nations were forced into the territory and then dispossessed again after settlement and statehood. The “new world” did not occur once in 1492. It is recreated whenever power redraws the map, renames the place, relocates people, and declares the resulting arrangement natural.
“Masc” makes the world suddenly intimate. Its title may be read as a clipped form of masculine, a category selected in an online profile, an identity performed socially, or a mask whose final letter has been removed. The song does not define the abbreviation because its emotional situation exceeds one stable reading.
Raygun has called it a song about the war at home and within the self. The narrator asks, speaks, trusts, bleeds, recognizes laughter, feels inferior, and keeps trying to enter a social world whose participants treat his vulnerability as evidence against him. Masculinity becomes a room in which the person is punished for asking to be admitted and punished again for pretending he does not need admission.
The refrain insists upon wildness, freedom, strangeness, and health while the surrounding verses reveal fear, shame, dependency, and humiliation. These declarations may be true, defensive, or aspirational. People often announce freedom most forcefully when another person’s judgment has begun determining their emotional movement.
The command to cut the speaker open brings trust back to the body. Intimacy always contains this risk. To be known requires exposure, and exposure provides another person with information that can be used for care or injury. Trust and bleeding become nearly identical because both require opening what ordinarily protects the interior.
The music is among Chat Pile’s most melodic, with goth and alternative-rock textures spreading around a vocal that never stops sounding physically endangered. The beauty does not soften the pain. It makes the desire for connection more credible.
“Milk of Human Kindness” takes its title from Macbeth, where Lady Macbeth worries that her husband possesses too much compassion to take the fastest murderous route toward power. In Chat Pile’s hands, the phrase has curdled. People claiming to protect what they love return with the blood of strangers on their gloves.
The song occupies the consciousness of someone who accepted the authorized truth, traveled where ordered, and only later understood the physical reality concealed behind the mission. Obedience was initially presented as love: protect home, family, freedom, and community. The soldier discovers that these sacred objects were used to guide his body toward acts whose memory will now inhabit him permanently.
The title’s “milk” becomes especially disturbing beside fire. Milk nourishes the infant body; burning destroys the adult body beyond recognition. Human kindness is invoked by institutions whose actions create the exact suffering kindness should prevent.
The speaker screams throughout the night because knowledge has destroyed the possibility of returning unchanged. The ghosts are allowed to haunt him. That phrase contains guilt but also the beginning of moral recognition. Refusing the ghosts would require denying the lives that produced them.
The song’s dark alternative-rock movement recalls the 1990s without becoming nostalgic. Screaming Trees, grunge, gothic rock, and heavier radio music appear as emotional technologies rather than retro decoration. Chat Pile’s members were formed by that era, including nu-metal, and refuse the later embarrassment through which listeners often protect their taste. A Korn-like bass tone or lurching groove is used sincerely because those sounds remain capable of expressing damaged bodies.
“No Way Out” closes with the album’s bluntest ecological verdict. The world presented as cool is overheating while fossil-fuel interests buy delay through lies. There once seemed to be time. Each repetition of that thought makes the lost time more painful.
Climate collapse differs from the album’s other violence because it appears gradual from inside ordinary life. A bomb produces a visible moment of destruction. Atmospheric change distributes consequence across seasons, oceans, species, crop systems, coastlines, storms, insurance markets, migration routes, and generations. Its scale permits those benefiting from delay to describe each local disaster as separate.
The title removes the fantasy of private escape. Wealth may purchase distance, cooling, water, fortified property, transportation, and temporary insulation, but no class can establish a separate atmosphere. The planet is the final shared room.
The almost-funky nu-metal movement gives the finale bodily pleasure despite its hopeless language. This contradiction is not accidental. Music creates temporary agency in the act of describing powerlessness. The listener cannot reverse climate change by moving with the riff, but the body is no longer merely receiving bad news. It is participating in a coordinated human response.
Ben Greenberg’s mix gives this broader record the necessary dimensions. God’s Country often felt like four people crushing the same physical room. Cool World still contains that pressure, but instruments now occupy more distinct depths. Electronics spread behind the band, guitar tones open into gothic and shoegazing space, bass remains aggressively articulate, and the drums can move between blunt impact and the restless intelligence brought by Cap’n Ron’s interest in jazz fusion.
The outside mixer did not erase the home-built Oklahoma quality Stin worried about losing. Chat Pile still sounds untechnical in the productive sense: the music is not governed by standardized professional elegance. Riffs retain strange proportions. Voices are permitted to become ugly, theatrical, weak, ridiculous, and overwhelming. The musicians do not hide the fact that their shared musical language developed from whatever entered Oklahoma through radio, VHS, record collecting, local shows, bad movies, and private obsession.
The record is more streamlined than its predecessor. There is no nine-minute finale and no attempt to reproduce the direct protest construction of “Why.” This is not retreat. Repeating the most celebrated gestures would turn urgency into branding. Cool World accepts the risk of abstraction because its subject requires connections among forms of violence that are usually discussed separately.
War, colonialism, class, masculinity, environmental destruction, family inheritance, propaganda, and mediated horror are not identical. Treating them as identical would erase important distinctions. The album instead understands them as connected systems that repeatedly reduce bodies to usable material.
A soldier becomes labor. A child becomes collateral damage. A land becomes a resource. A recording becomes content. A worker becomes a funny man dancing for food. A frightened person becomes a dog. A parent becomes an image of grief. A planet becomes a market whose destruction is listed as an external cost.
The Voltaire reference behind the record provides the clearest summary. Sugar appears innocent at the point of consumption. Its sweetness conceals the historical and bodily price required to place it on the table. Modern comfort depends upon enormous chains of extraction whose suffering is kept distant from the consumer.
Cool World asks what would happen if the distance failed. What if every product arrived carrying the voices of those harmed during its production? What if fuel displayed the future storms it purchased? What if a national monument showed the bodies required to construct its myth? What if the screen could not reduce a murdered child to pixels?
The album does not believe that seeing automatically creates goodness. “Camcorder” and “Tape” prove the opposite. Images may inform, horrify, numb, excite, incriminate, or disappear into endless circulation. Ethical sight requires more than exposure. It requires resisting the transformation of another person’s suffering into private entertainment or symbolic ammunition.
This is why Chat Pile’s humor remains important even when it is less obvious. Their stage names, movie references, deliberately goofy phrases, and comfort with disreputable musical influences prevent moral seriousness from becoming institutional grandeur. They do not stand beneath the cross claiming access to superior purity. They remain four Oklahoma music obsessives who began the band as another form of hanging out and accidentally acquired an international audience.
The cover’s cross is surrounded by empty-looking land, but the roads reveal constant circulation. Cars move past the monument toward jobs, stores, meals, homes, churches, hospitals, and destinations whose daily urgency makes the structure part of the background. Repetition normalizes even absurd scale.
Violence operates similarly. What would be intolerable as an isolated event becomes administratively manageable when repeated through systems. Another bombing, another fire, another displaced family, another record temperature, another poisoned community, another worker consumed by an inherited institution. The exceptional becomes ordinary without becoming less terrible.
The album’s task is to restore strangeness to what has been normalized. “I am dog now” is strange enough to make dehumanization visible. “Funny Man” is strange enough to reveal the servant inside the hero. A camcorder becomes strange enough to expose spectatorship. Milk becomes strange enough to reveal murder hiding inside patriotic care. The cool world becomes strange enough to feel hot again.
The gold title lettering remains calm beneath the tangled logo. It does not scream or drip. It could belong to a travel agency, condominium development, entertainment company, or climate-controlled shopping complex. The photograph beneath it shows a world built from competing promises of salvation: religion, commerce, mobility, technology, and endless development.
Chat Pile offers no uncontaminated position outside those promises. The band distributes records through global systems, promotes music through the same screens that circulate atrocity, tours using fuel, and converts suffering into art purchased for pleasure. This does not invalidate the work. It locates the work inside the contradiction it describes.
There is no morally pure listener either. We eat the sugar, use the fuel, watch the footage, wear the products, inherit the country, and attempt to distinguish responsibility from helplessness while participating in systems too large for individual refusal to dismantle.
Cool World does not resolve that paralysis. It transforms it into attention, grief, anger, physical sound, and a demand that distance not be mistaken for innocence.
The cross remains visible from the highway.
The traffic light changes.
The world continues burning beneath a title that tells us to stay cool.

David Nance - 2024 - Don't Take That Way, That Way's A Mess Outtakes 2020-2024

 

Western Records – WR015

The cover appears to have been photographed through a dirty maintenance window, scratched Plexiglas, a bus shelter, or several layers of weathered tape. A street or industrial passage recedes behind a yellow-brown surface so degraded that location has become less important than obstruction. Horizontal rails or pipes cross the lower half. A pale rectangular area holds the hand-drawn title, while tiny printed words near the bottom read MAINT REQ’D. Maintenance required.
That phrase could summarize the entire record. These are not abandoned songs discovered after the machinery stopped working. They are songs produced while life, equipment, attention, employment, family, and the musician himself required continuous upkeep. Some have been completed only in the sense that Nance stopped touching them. Others remain sketches, jokes, alternate paths, private performances, distorted phone documents, and pieces that escaped whatever album was originally supposed to contain them.
“Outtakes” usually implies material rejected from a more authoritative body of work. The finished album receives the front room, while the outtakes are taken around back and released later for collectors who already care. Don’t Take That Way, That Way’s a Mess reverses this hierarchy. The mess is not merely leftover material. It is the actual landscape through which a working artist moves.
David Nance has spent years creating music at several economic and social scales simultaneously. He can release a formal band record through Third Man, play larger stages, back Rosali, tour with trusted Omaha musicians, record full-album covers in a matter of days, issue homemade tapes, and continue accumulating fragments on a telephone. None of these activities cancels the others. The professional release does not render the home recording obsolete, and the home recording does not need to pretend it was secretly aiming for professional finish.
This is the difference between prolificacy as branding and prolificacy as daily practice. A branded prolific artist is presented as an endless fountain whose imagination produces complete objects faster than ordinary people can consume them. A working musician makes things because making things has become part of how time is survived. Some results receive budgets, schedules, publicity, and carefully assembled bands. Others happen after everyone else has gone to sleep.
Nance has said that fatherhood made him more deliberate about when he writes, often working quietly late at night because employment and family occupy most of the day. That circumstance is audible here not as domestic complaint but as form. The telephone becomes recorder because it is already within reach. Songs become brief because brief time exists. Distortion remains because correcting it would require another window in the schedule. The archive grows around life rather than demanding that life vacate the premises.
The cover’s photographed barrier is therefore not just attractive grime. It establishes the position from which the record sees. We do not receive an unobstructed master image. We look outward through damage, reflection, dirt, compression, and whatever happened to stand between the lens and the street. The obstruction becomes part of the street because it cannot be removed from our experience of looking.
Digital clipping performs the same operation upon sound. In analog recording, overload may round, saturate, and add harmonics in ways listeners have learned to describe as warm. Digital overload reaches a ceiling and cuts off the waveform. Information does not gently bend; it collides with a limit. The resulting crackle and hard-edged breakup are commonly treated as errors to be prevented.
Nance gives the error affection. “Loving amounts of digital clipping” is funny, but the adjective matters. The damage is not merely tolerated as evidence of authenticity. It becomes part of the emotional contact between musician and recording. The phone tries to contain a guitar, voice, room, or speaker louder than its small microphone can process. Its failure measures the force of what entered.
“Get Used to the Water” lasts fifty-two seconds, barely enough time to identify the water before adaptation is demanded. The phrase can be encouragement offered to someone learning to swim, cruelty directed at someone already drowning, or the practical wisdom of a body that cannot wait for conditions to become comfortable.
Getting used to the water differs from making the water warm. The environment remains what it is; the person changes. This can be resilience, resignation, training, or the gradual acceptance of something that should never have become normal. A working life contains all four. The alarm rings, bills recur, bodies age, children need care, shifts consume daylight, and the artist learns to enter creative water at whatever temperature remains.
The song’s tiny duration keeps it from becoming inspirational doctrine. Nance does not stand on shore explaining adaptation. The record pushes us in and moves immediately to the next situation.
“I Stood Alone in the Grocery Store” enlarges one of modern life’s most ordinary interiors until it becomes existential. Grocery stores are crowded with evidence of human dependency while encouraging the illusion of private choice. Food has been planted, raised, killed, harvested, processed, packaged, priced, shipped, stocked, refrigerated, and advertised by people who remain invisible at the moment of purchase. The shopper stands alone among the coordinated labor of thousands.
To stand alone there can mean literal late-night isolation, emotional disconnection inside a crowd, indecision before abundance, financial calculation, or the strange stillness that sometimes arrives beneath fluorescent light. The grocery store promises nourishment but organizes it through money. Hunger enters as biology and is converted into comparison among brands.
Nance’s deep-fried Americana is perfect for this location. Country music has traditionally carried farms, hunger, work, family tables, drinking, loneliness, and rural distance. Here those materials arrive at the retail endpoint, where agriculture has become barcodes and refrigeration. Twang remains, but it is heard through a phone microphone inside the age of self-checkout.
The title is also funny because it grants heroic solitude to an unheroic place. The lone figure in traditional American imagery stands on a mountain, highway, range, battlefield, stage, or prairie. Nance stands near cereal, frozen pizza, and seasonal promotions. This reduction does not destroy grandeur. It locates grandeur where most lives actually occur.
“If I’d Stop, I’d Stop Right Now” constructs a sentence that defeats its own intention. Stopping is proposed conditionally, then made immediate, yet the song continues for more than three minutes. The speaker can imagine cessation while remaining unable or unwilling to enact it.
This is the grammar of compulsion, labor, addiction, artistic practice, worry, and ordinary momentum. People often continue not because they have chosen a destination but because stopping would create a silence in which the reason for continuing must finally be examined. Motion protects itself.
For a prolific musician, stopping has another ambiguity. Does it mean ending a song, quitting touring, abandoning the next recording, putting away the guitar, or refusing to convert every available feeling into material? Making music can be labor, refuge, identity, income, therapy, social life, and private compulsion at once. There may be no single activity to stop.
The record does not romanticize this entirely. Outtakes are evidence of work that exceeded formal demand. Nobody required sixteen phone recordings. They exist because the impulse continued after a conventional career strategy might have advised concentration, scarcity, and careful management of the catalog.
“Paint the Bells White” opens the collection’s most extended space and introduces another person’s language directly into Nance’s private recording world. The title comes from Mychal Marasco’s poem, making the track an act of borrowing that is acknowledged as loving rather than hidden beneath claims of influence.
Painting bells white is a strange labor. A bell exists to sound, while paint alters its visible surface and potentially its vibration. White can suggest purity, burial, primer, surrender, institutional walls, wedding decoration, snow, or the attempt to conceal weathered metal. The object designed to announce something has been cosmetically transformed before it speaks again.
A bell also converts impact into public time. It calls people to worship, warns of danger, marks death, announces celebration, regulates work, and tells a community that an event has occurred. Painting it does not change the event, but it changes how the instrument appears while announcing it.
Nance’s version places poetry inside clipping and homemade production, allowing literary language to pass through a technology associated with quick documentation rather than permanence. The result does not elevate the phone recording into respectable art. It brings the poem down into the room where cables, borrowed microphones, domestic schedules, and overloaded inputs already live.
“Chamba” carries a word whose meaning shifts according to language and place. It can suggest work, employment, or a job in Mexican and Central American usage; elsewhere it may carry other names and associations. On an album by a musician who explicitly treats music as a part-time job, the possible connection to labor feels especially alive.
Work is everywhere in these recordings, even when no song directly describes a workplace. Instruments must be picked up. Levels must be guessed. Files must be named. Takes must be stored, found, judged, sequenced, uploaded, dubbed onto cassette, packaged, and mailed. DIY culture can hide this labor beneath romance because the worker and artist are the same person.
Calling home recording freedom is accurate but incomplete. Removing institutional gatekeepers means inheriting their tasks. The musician becomes engineer, archivist, label, manufacturing department, sales clerk, publicity office, shipping station, and technical support. Independence is not the disappearance of work. It is work changing ownership.
“Good Posture, Bad Vocabulary” lasts thirty-two seconds and features Murray Nance, allowing the artist’s child to enter the collection as voice rather than subject. The title pairs physical correctness with linguistic failure. Sit straight, stand properly, hold the body according to instruction, but let language remain unruly.
Children encounter these pressures early. Adults correct posture, pronunciation, grammar, manners, volume, timing, and acceptable words while children are still discovering that the voice can alter a room. Murray’s appearance interrupts the solitary mythology surrounding the one-man recording. The house contains another consciousness, another vocabulary, and another possible musician who has not yet been sorted into professional categories.
The cameo is brief enough to preserve play. It does not announce a family dynasty or ask a child to carry symbolic emotional weight for the album. A voice enters, leaves, and remains on the tape because the recording process was porous enough to admit actual life.
“Pure Evil #9” returns to a title already central to Nance’s earlier work, but the number prevents the song from becoming a definitive reprise. Evil has undergone at least nine versions, attempts, recordings, mixtures, or manifestations. The phrase sounds like a perfume, chemical formula, train, motel room, or experimental batch.
Numbering a song this way exposes the false finality of recorded versions. Listeners often treat the released master as the song itself, but musicians know that a song can possess demo form, rehearsal form, live form, abandoned arrangement, alternate lyric, accidental take, and private late-night mutation. The numbered version acknowledges that identity has become serial.
Pure evil is an absolute moral category; #9 is inventory language. Put together, they turn metaphysical darkness into something stored on a shelf. This is funny, but also accurate to the way culture manages horror. Even evil becomes a product variant, sequel, file, category, and repeatable aesthetic.
The earlier Pure Evil belonged to Nance’s emergence as a formidable figure in damaged American rock. This later iteration makes the phrase coexist with grocery stores, parenthood, work, phones, and aging. Evil has not vanished, but it must now operate within a much busier calendar.
“No Password” makes access impossible through the absence of the thing required to gain it. The phrase may mean the system has been left open, the password has been forgotten, no password was ever created, or the person asking for entrance has been denied the category through which entrance could be authorized.
Passwords turn memory into infrastructure. Work, money, communication, music, photographs, identity, health, and private history become dependent upon strings of characters that must be remembered while remaining difficult for others to guess. Forgetting one can temporarily make a person a stranger to his own possessions.
A phone-recorded archive lives precariously inside this system. Songs may be abundant but remain vulnerable to broken devices, lost accounts, failed backups, incompatible formats, and forgotten organization. The most immediate recording tool can also become a sealed box. “No Password” therefore sounds like freedom and catastrophe at once.
“Generation Jump Scare” gives cultural inheritance the structure of a horror-film edit. A jump scare works by manipulating attention and timing. The viewer looks toward one area, silence creates false safety, and an image or sound suddenly enters from another direction. Its force comes partly from the body responding before interpretation can intervene.
Generations experience one another this way. Parents look at children and suddenly see a future for which they feel unprepared. Children look at parents and unexpectedly recognize age, fragility, or resemblance. Cultural habits that seemed permanent vanish; older damage reappears in new clothing; technology changes the rules before anyone has completed learning the previous set.
The title may also describe the emotional whiplash of raising a child while losing family members and watching one’s own position shift within the generational chain. Nance returned to Omaha partly after the death of his younger sister Angel, wanting proximity to the family that remained. Fatherhood and grief therefore occupy neighboring rooms even when the songs do not explain that relationship directly.
A jump scare is brief, but its aftershock reorganizes the scene. “Generation Jump Scare” lasts under two minutes, respecting the title’s suddenness while allowing the nervous system just enough time to understand that something irreversible entered.
“From the Foot of a Mountain” rejects the heroic viewpoint from the summit. The singer is not above the landscape surveying conquered distance. He stands at the bottom, where the mountain is largest and the route least abstract.
American rock has often placed musicians at symbolic peaks, alone with guitar and revelation. Nance’s working practice belongs closer to the foot. Records are built from errands, jobs, rehearsals, family time, borrowed gear, local collaborators, small labels, tours of uneven scale, and rooms where no photographer is present.
The foot of a mountain is not failure. It is the point where climbing becomes material rather than imagined. From below, one can see weight, weather, rock, routes, and the bodily cost of ascent. One may also decide that climbing is not the only meaningful relationship with a mountain.
This is important for an artist whose career has repeatedly brushed against wider recognition without converting him into a conventional star. Third Man can release a record; five thousand people can watch an opening set; critics can describe him as a guitar hero; then he returns home and records clipped songs on a phone. The mountain remains, but so does the life at its base.
“Divider” names an object or person that creates separation. A highway divider prevents collision while making crossing difficult. A room divider creates temporary privacy without becoming a wall. Arithmetic division distributes one quantity into smaller parts. Political dividers turn difference into power.
Recording also divides. A microphone separates one event from the surrounding continuity by deciding what enters the file. Editing divides the useful portion from the discarded portion. An album divides official songs from outtakes. A track marker divides continuous listening into named units.
This compilation weakens those divisions. The outtake becomes released work. The phone becomes studio. Family enters performance. Poetry enters rock song. Old composition becomes numbered variant. Finished and unfinished stop behaving like moral opposites.
The title track lasts only fifty-one seconds, but its sentence becomes the album’s governing instruction: “Don’t take that way, that way’s a mess.” It sounds like advice given by someone familiar with a road, hallway, route through a building, career choice, emotional subject, or portion of life that has become difficult to cross.
The first “way” refers to direction. The second becomes condition. A route is a mess, but the mess may also be the evidence that people have already passed through it carrying work, damage, tools, boxes, weather, children, cables, and unfinished repairs.
The advice is protective, yet the album proves that Nance took that way. He spent four years gathering its debris. The compilation is a report sent from inside the route everyone was advised to avoid.
The phrase also describes how musicians talk to one another while loading equipment, finding venues, surviving tours, and navigating industries built from partial information. Don’t take that highway. Don’t use that promoter. Don’t sign that agreement. Don’t load through that door. Don’t put the microphone there. Don’t take that way. It’s a mess.
Working knowledge often arrives in these compressed warnings. The full explanation would take too long, and the person receiving it may be carrying an amplifier.
“That Look Only Means One Thing” turns facial expression into a code whose interpretation is presented as certain. Yet looks rarely mean only one thing. Desire can resemble anger, exhaustion can resemble contempt, fear can resemble indifference, and recognition can resemble accusation.
The title sounds like the confident sentence spoken immediately before a misunderstanding. Human beings are desperate to read one another accurately because social life depends upon prediction. We scan eyes, mouths, posture, silence, timing, and small changes in tone, then build stories from evidence too incomplete to support certainty.
A phone recording similarly invites interpretation from limited information. Clipping obscures detail. Rooms are unidentified. Dates span four years. Outtakes arrive without the contextual explanation that a formal album campaign might provide. The listener sees a look and decides what it means.
Nance’s voice helps sustain this uncertainty. It carries wear, humor, twang, irritation, affection, and a certain Midwestern refusal to polish every feeling into one approved emotional category. He can sound sincere and as though he is quietly laughing at the form sincerity has taken.
“Makin’ a Scene With T” turns trouble into collaboration. To make a scene can mean causing embarrassment in public, creating a cultural environment, staging an image, or constructing a piece of art. The letter T may identify a person whose full name belongs to private life, leaving the listener with only the shape of companionship.
Scenes are made by people who continue showing up. Omaha’s musical life survives not because one artist becomes nationally important enough to represent it, but because musicians lend microphones, share rhythm sections, record one another, tour together, attend shows, form new configurations, and remain available for the next idea.
Nance’s world includes James Schroeder, Kevin Donahue, Sam Lipsett, Dereck Higgins, Pearl LoveJoy Boyd, Simon Joyner, Rosali, and many others. This outtakes collection is primarily solitary, but solitude is supported by a local social structure. Even the borrowed cymbal carries another musician into the room.
The title’s “with” matters more than the scene. Cultural history often remembers front people and album names while losing the practical network that made continued creation possible. A scene is not merely a style shared by several bands. It is a web of favors, rooms, rides, equipment, patience, and people willing to listen before importance has been established.
“I’m Going Where They Don’t Know My Name” imagines anonymity as destination. Musicians are usually expected to desire recognition, but recognition can become another demand. Once a name accumulates expectations, every new work is compared with what the name has previously promised.
Going somewhere unknown offers relief from biography. The person can enter a room without being asked about a record, band, review, influence, tour, or earlier self. Anonymity is not failure there. It is a temporary return to unassigned existence.
The line has deeper working-class resonance too. People travel for jobs, family, rent, survival, escape, and the possibility that another place will not contain the same social limits. Yet arriving where nobody knows the name also means losing credit, history, reputation, and the assistance familiarity can provide.
For Nance, the fantasy may be impossible. He carries the name inside the songs, and the voice makes recognition available even when production tries to obscure it. But the outtake offers a partial disguise. It is less publicly armored than a formal studio track, closer to sound made before the outside world has decided what to call it.
“Wish I Could Get High (Like I Used To)” closes the collection with longing for an experience whose chemistry, context, age, body, and meaning have changed. The phrase is not simply a wish for intoxication. It is a wish to recover the person for whom intoxication once worked in a particular way.
“You used to” is one of aging’s most heavily populated territories. The same drink, drug, song, town, friendship, drive, late night, or guitar sound cannot reproduce its earlier effect because the receiver has changed. Tolerance may be chemical, but it is also biographical. Experience teaches the mind what is coming, and anticipation removes some of discovery’s force.
The desire to get high as before may therefore be a desire to become unknowing again. Youth could enter states without carrying the full archive of consequences, grief, obligations, and previous attempts. The adult body cannot simply subtract that knowledge.
Music offers an imperfect version of the same wish. A listener returns to an old record hoping for the first impact, but hears it through every subsequent year. A musician reaches for a riff, distortion, or recording method associated with earlier freedom and discovers that technique has become too knowledgeable to reproduce innocence.
Nance’s phone recordings solve this problem accidentally. The device introduces enough unpredictability and technical failure to make the artist encounter his own music from a less controlled position. Digital clipping becomes a cheap chemical alteration. Familiar rock forms return warped, overexposed, and capable of producing surprise.
The closing track is the longest after “Paint the Bells White,” giving the wish room to persist after the other fragments have hurried past. It ends the record not with recovery but with recognition that the old condition cannot be ordered on demand.
That recognition need not be defeat. The compilation itself demonstrates another kind of high: finding that scraps recorded across four years can form a world once placed beside one another. The artist may no longer enter music exactly as he once did, but the practice remains capable of generating unforeseen connections.
Western Records is essential to that practice. The name sounds grand enough to belong to an old regional label issuing country singles from an office above a hardware store, but Nance uses it as a handmade outlet for cassettes, CDRs, full-album cover projects, private experiments, and whatever else formal release systems would force to wait.
A self-run label allows whim to become schedule. This does not eliminate judgment. It relocates judgment to the person closest to the work. Nance can decide that clipped phone recordings, a thirty-two-second child vocal, a ninth version of “Pure Evil,” and sixteen tracks whose official description cannot decide whether fourteen or fifteen are unreleased deserve a physical object.
That uncertainty is delightful. A normal press release would settle the arithmetic before publication. Nance leaves “14 (maybe 15?)” as though counting the tunes accurately would misunderstand why they are being released. The catalog exists, but the cataloger is still inside the pile.
The home-dubbed cassette completes the idea. Cassette duplication requires time to pass in physical proportion to the music unless specialized equipment accelerates it. Each copy turns while forty-one minutes of sound are transferred onto magnetic tape. The maker cannot pretend the object arrived instantly from a distant plant.
“Home-dubbed with love” can sound sentimental until one imagines the repeated labor. Load cassette. Record. Monitor. Flip or change. Label. Package. Repeat. Love is not an abstract glow surrounding the product. It is the willingness to perform a dull operation again because another person wants the music.
This is where the user’s description of Nance as a real working musician becomes especially accurate. The romance of rock usually hides maintenance. Guitars require strings, tubes, batteries, repair, transport, storage, and practice. Bands require schedules and relationships. Tours require routes, fuel, food, sleep, and risk. Releases require files, artwork, emails, manufacturing, payment, and postage. Families require presence that cannot be delegated to an artistic persona.
Don’t Take That Way, That Way’s a Mess does not rise above this maintenance. It turns maintenance into its recording environment. The songs were not waiting in a pure imaginative realm for life to stop interfering. They were made through the available openings in life.
The tiny MAINT REQ’D notice on the cover is therefore the record’s secret label. It applies to the street, window, building, music industry, recording device, body, memory, family schedule, and country tradition being carried through Nance’s distorted Americana. Everything needs attention. Nothing stays fixed because someone declared it finished.
The image remains beautiful precisely because nobody cleaned the viewing surface. Scratches become lines, grime becomes grain, and the unremarkable route beyond the glass becomes a half-lost landscape. The title is written across the obstruction rather than behind it, suggesting that the warning was produced by the same damage it describes.
Do not take that way.
That way is a mess.
But it is also where the songs are.

Hot Tubs Time Machine - 2024 - Food & Ruins

Spoilsport Records – SSR035

 The cassette cover has been rotated sideways, as though the landscape could not fit into ordinary album orientation without tipping the listener over. Daniel Twomey and Marcus Rechsteiner stand before a huge formation of weathered rock, each holding a long crooked branch. They look less like conquering explorers than two people who found unusually good sticks and understood that the discovery required documentation. The black-and-white photograph carries the visual authority of an old expedition record, but the expressions and improvised staffs gently puncture heroism. They have reached the ruins and immediately begun playing.

Along the opposite side, fourteen titles are printed with the practical clarity of a takeaway menu. “Button Man,” “Contact High,” “Slippery Slope,” “Goat Soup, Liquid Gold,” “Dear British Museum,” “Love Is in the Air,” “Wah Wah,” and “Marcus’ Brain” appear beside a photograph that could have advertised wilderness, masculinity, endurance, or national mythology. Instead, the object is called Food & Ruins. Civilization is reduced to what it eats and what remains after it has finished building, fighting, extracting, collecting, remembering, and forgetting.
Food prevents ruins from becoming romantic. A ruined temple or abandoned settlement can be admired from a distance, but somebody once needed breakfast there. Every civilization remembered through architecture was maintained through cooking, farming, trade, hunger, bodily labor, digestion, and waste. Ruins are what history leaves for museums. Food is what living people require before history can happen.
The ampersand is therefore the album’s most important piece of punctuation. It does not say food among ruins, food after ruins, or food versus ruins. It joins them without explaining the relationship. A meal may preserve culture after an empire collapses. A restaurant may occupy a building whose previous purpose has disappeared. Colonial trade may transform ingredients, appetites, labor, and land while later presenting the resulting cuisine as uncomplicated heritage. Food creates community, but it also records migration, inequality, survival, and conquest.
Hot Tubs Time Machine approaches these enormous subjects without becoming enormous. Daniel constructs skeletal environments from bass, drum machines, live percussion, synth, guitar, clarinet, and whatever else the song requests. Marcus walks through them speaking in the tone of someone who has just remembered something important while waiting for public transportation. The lack of rhetorical elevation is not accidental. Grand ideas become more truthful when they are forced to coexist with guest lists, sound checks, sweets stolen by children, local geography, football nostalgia, clothing, and soup.
The project’s name already converts fantasy into leisure equipment. A time machine should be a magnificent engine allowing humanity to confront history, repair catastrophe, meet the dead, or witness the future. Add a hot tub and temporal travel becomes a small social gathering with warm water, drinks, damp towels, and uncertain hygiene. The impossible invention has been repurposed for hanging out.
The band operates exactly this way. History arrives, but it does not stand behind a lectern. It climbs into the tub. Colonization sits beside knitwear. Australian masculinity shares bubbles with a Thai lute. A mysterious bushman, a sound engineer, Dandenong, Kuala Lumpur, and the British Museum are temporarily made contemporaries because Marcus’s mind has admitted them into the same warm mechanical present.
“Button Man” begins with a real figure who has already become folklore. The Button Man is associated with Victoria’s remote High Country, living for long periods in the bush and receiving his nickname from buttons reportedly carved from deer antler. Stories surrounding him have turned an actual recluse into a regional cryptid, a man onto whom campers project fear, admiration, suspicion, independence, and fantasies of life beyond ordinary society.
The song is less interested in solving the man than in preserving the attraction of not solving him. Modern life makes people continuously locatable. Phones announce position, purchases create records, roads are mapped, identities are searchable, and wilderness is increasingly mediated through warnings, reviews, satellite images, and online mythology. The Button Man represents a person who remains partly outside explanation, but whose refusal of ordinary visibility causes explanation to multiply around him.
Marcus does not need to invent a monster. The human being is already more interesting. A person lives differently, knows a landscape deeply, makes objects from animals, appears unexpectedly, and does not provide enough information to satisfy strangers. Mystery grows in the gap between the life being lived and the public’s demand to narrate it.
Daniel gives the song enough open space for the bush legend to remain uncontained. The groove does not pursue him through the forest. It circles the story, allowing guitar and rhythm to create distance rather than cinematic menace. Hot Tubs Time Machine’s restraint is crucial here. Their minimalism does not mean that little is happening. It means the listener is given room to notice how much meaning Marcus can attach to one peculiar fact.
“Contact High” moves from isolation into involuntary influence. A contact high occurs when one person experiences an altered state merely through proximity to somebody else’s intoxication, although the phrase has expanded to describe enthusiasm, anxiety, confidence, foolishness, and emotional weather spreading through a group. Human beings are porous even while insisting upon individual identity.
This is also a useful description of collaboration. Marcus does not play the instrumental foundation, yet Daniel’s rhythm changes how the words arrive. Daniel does not control the narrative, yet Marcus’s voice changes what every bass note appears to mean. Simon O’Connor’s guitar enters another established relationship and alters the chemistry again. No participant remains chemically pure.
The song suggests that influence is not always chosen or even recognized. People absorb expressions, fears, habits, jokes, prejudices, rhythms, and forms of attention from those nearby. Culture itself may be one enormous contact high, generations breathing the residue of experiences they did not personally initiate.
“Slippery Slope” begins with childhood moral instruction. A friend steals a Chupa Chup, and adults imagine the theft as the first downward movement toward cars, drugs, organized criminality, and catastrophic character failure. The slippery-slope argument converts one act into a machine that automatically manufactures its worst possible conclusion.
Adults use these narratives partly because children are difficult to govern through nuance. “Do not steal this sweet because ownership, temptation, trust, social rules, and economic inequality are complicated” lacks the efficiency of “first it is a lollipop, then you will become an international criminal.” The exaggeration is funny, but it also reveals the anxiety beneath discipline. Adults know that character is shaped gradually and cannot see exactly which tiny decisions will matter later.
Then Marcus turns the slope toward himself. Punk was once something teenagers could treat as nonsense, freedom, noise, friendship, and a refusal to become the older people embarrassing themselves onstage. Time moves, and the teenager becomes the older musician. The activity that once opposed maturity survives into maturity and must be understood differently.
This is one of the album’s gentlest insights. Aging in punk is not evidence that rebellion failed. It may mean that the original activity contained more life than the youthful theory allowed. Teenagers imagine adulthood as a foreign country populated by people who surrendered. Later, they discover that continuity can also be defiance.
The slippery slope leads neither to a global drug empire nor to respectable retirement. It leads to an unusual spoken-word duo making cassette albums about lollipops, geography, colonial theft, soup, football, and the embarrassment of still caring. That is a much stranger outcome than the warning predicted.
“Door Spot” takes a tiny piece of music-industry administration and worries it into an ethical philosophy. The door spot, guest-list place, or free entry seems trivial until scarcity forces a decision. Which friend deserves access? Does friendship create entitlement? Should the person who rarely attends receive the same consideration as the person who always supports the band? Does giving one spot to somebody imply a judgment about everyone excluded?
A guest list converts affection into bookkeeping. Names become units of limited capacity. The musician is temporarily asked to rank relationships according to a door worker’s sheet. This is absurd, yet similar systems quietly structure social life everywhere. Invitations, birthday tables, wedding seats, backstage passes, work recommendations, favors, and private messages all force people to turn feeling into allocation.
Marcus’s mind will not let the logistical detail remain innocent. The very quality that might make ordinary administration exhausting becomes the source of the song’s moral energy. He keeps examining the question after a more socially efficient person would have shrugged and written down the first name.
Haruka Sato’s keytar adds an appropriately bright, slightly artificial surface. The instrument carries the visual memory of 1980s stage technology, a keyboard liberated from its stand so that its player can move like a guitarist. On “Door Spot,” it becomes another object crossing a boundary. The keyboard has been granted access to the guitar’s physical territory.
“Dandenong Is Not in the Dandenongs” transforms local confusion into ontology. Dandenong is a metropolitan suburb and regional center southeast of Melbourne. The Dandenong Ranges are forested hills farther to the northeast. They share a name strongly enough that an outsider may reasonably assume one lies inside the other, but names do not guarantee containment.
The song’s humor depends upon the seriousness with which geography is corrected. Place names are practical until they begin generating false mental maps. Language appears to explain location while quietly leading the traveler elsewhere.
This is especially rich in Australia, where colonial naming repeatedly overlaid Indigenous geography with imported words, commemorative names, duplication, and administrative boundaries. The map can appear precise while concealing older systems of place, movement, story, and belonging. “Dandenong is not in the Dandenongs” is a small factual correction sitting upon the much larger instability of how land becomes language.
The statement also resembles a philosophical riddle. A thing is not inside the category that appears to contain it. The artist is not necessarily inside the genre. The adult punk is not inside the adolescent idea of adulthood. The person with a diagnosis is not inside other people’s summary of that diagnosis. Names are handles, not rooms.
“Deja Vu” follows naturally because geographical mistakes and repeated experience both involve the mind asserting familiarity before evidence has been fully processed. Déjà vu feels like memory without an identifiable original. The present arrives carrying the emotional texture of repetition, while reason insists that this exact arrangement has not occurred.
Hot Tubs Time Machine is itself built from déjà vu. Drum-machine patterns, post-punk bass, synthesizer, spoken vocals, and angular guitar carry histories the listener may recognize, but the stories prevent the music from becoming revivalism. The form feels familiar while the content could only have emerged from these two people.
Haruka’s keytar strengthens that temporal folding. An instrument strongly marked by an earlier popular era appears inside a 2024 song assembled partly from recordings accumulated since 2020. Time has not traveled in a straight line. It has climbed into the hot tub and begun remembering itself incorrectly.
“Goat Soup, Liquid Gold” is the album’s edible center. Soup transforms separate ingredients into a shared environment. Meat, bone, spice, fat, water, heat, and time lose some individual boundaries while contributing to a flavor that belongs to none alone. Calling it liquid gold elevates nourishment without removing the pleasure of exaggeration.
The song’s Kuala Lumpur setting matters because food can make a distant city intimate faster than monuments do. A traveler may forget the official building but remember steam, broth, plastic chairs, heat, conversation, and the exact bodily relief of being fed. Culinary memory enters through smell and taste, senses unusually capable of opening an entire place without asking permission from chronology.
Jesse Twomey’s phin introduces the pear-shaped lute associated particularly with Isan in northeastern Thailand and with Lao musical traditions. Its appearance in a song about Malaysian food creates another regional crossing without pretending Southeast Asia is one interchangeable culture. The instrument travels because musicians, recordings, trade, tourism, and family curiosity travel.
The twin brother’s contribution also brings private history into international appetite. Daniel’s musical world expands, but the expansion remains connected to family. A makeshift studio can contain several countries when instruments carry their histories into the room.
“Stop Freakin’ Out” is the shortest track, because panic rarely benefits from an extended lecture. The command may be affectionate, impatient, self-directed, or completely useless. A nervous system does not stop producing alarm simply because another person has correctly identified that the alarm is excessive.
“Freaking out” is a social interpretation placed upon physical experience. From outside, the reaction appears disproportionate. From inside, the body is already processing danger as fact. The phrase can therefore become either grounding or dismissal depending upon the relationship, tone, and whether help follows it.
The album’s humor often occupies this uncertain zone. Marcus can describe anxiety in a way that makes listeners laugh without inviting them to laugh at the person experiencing it. The comic detail creates contact. It says that distress and absurdity may occupy the same brain without canceling each other.
“Biffo” turns toward Australian football and the inherited spectacle of men colliding. Biffo means a fight or physical scuffle, often carrying a nostalgic, almost affectionate roughness. The word can make violence sound like part of the entertainment, something regrettable but also expected from a supposedly tougher era.
Marcus remembers 1970s football while refusing to clean the period for nostalgic consumption. The men were culturally discouraged from expressing emotion, drank heavily, and punched one another. Racism and other forms of brutality were not detachable stains around the game. They belonged to the social machinery that decided what masculinity should look like.
The song does not solve the difficult question of whether pleasure taken from a compromised past must be surrendered completely. Instead, it keeps affection and criticism in the same room. Nostalgia is not treated as historical evidence, but neither is it dismissed as moral failure. A person can love what a game meant while learning to see what the game permitted.
This is one of Food & Ruins’ central methods. It does not divide experience into pure nourishment and contaminated remains. Food contains ruins. Ruins contain meals, friendships, songs, and moments of joy. Moral maturity may consist partly of refusing to discard either side of that knowledge.
“Respect the Mixer” gives public recognition to the person responsible for making everyone else audible. At a small show, the sound engineer may be treated as servant, obstacle, magician, enemy, or invisible utility. Musicians demand impossible corrections, ignore technical explanations, arrive late, change equipment, and then blame the mixer when a room designed for drinking does not sound like a mastered record.
Respecting the mixer means recognizing an entire category of labor normally noticed only through failure. The engineer hears the room as a system: speakers, microphones, cables, frequencies, bodies, reflective surfaces, stage volume, and performers who may not understand what their equipment is doing ten feet away.
Daniel and Marcus turn this into comedy by inviting Mikey Young, one of Australian underground music’s most respected mixers and mastering engineers, to play guitar on the song. The expert has been pulled from behind the desk and placed inside the material requiring management. Asking the mixer whether he has heard of Mikey Young folds reputation, labor, and friendly foolishness into one line.
The song belongs to a larger underground ethic. Every release depends upon people whose names may appear in tiny type: engineers, designers, photographers, printers, label workers, venue staff, drivers, door people, pressing-plant employees, and whoever remains after the show to coil cables properly. Punk talks often about destroying hierarchy while reproducing it casually through whose labor receives applause.
“Dear British Museum” changes the address completely. The conversational “dear” is formally polite, but the subject is institutional theft, colonial collecting, and the conversion of other peoples’ sacred, historical, and daily objects into imperial property. A letter begins because the museum has behaved as though possession were the conclusion of history.
Museums create a powerful fiction of neutrality. Objects are lit, labeled, preserved, and arranged within quiet rooms, making acquisition appear like a completed scholarly process rather than the result of military power, coercion, unequal trade, excavation, removal, and laws written by empires for their own benefit.
Marcus’s anger gains force from the record’s surrounding mundanity. The British Museum is not separated into a special chamber of official political songwriting. It exists in the same consciousness that thinks about guest lists, football, soup, clothing, and local place names. This is how colonial history actually enters ordinary life. It is not an elective subject that begins when serious music starts. It is present in institutions, collections, language, food, borders, and the authority to decide where objects belong.
The song’s short duration resists monumental rhetoric. The institution is enormous; the letter is small. Yet letters accumulate. Requests for return, testimony from communities, scholarship exposing acquisition histories, and public refusal gradually alter what museums can claim without challenge.
“Love Is in the Air” risks becoming a novelty merely through contrast. John Paul Young’s 1977 song is an Australian pop standard, written and produced by Harry Vanda and George Young, whose chorus promises love everywhere the singer looks. Hot Tubs Time Machine approaches it through the consciousness of a lonely person for whom the surrounding abundance has failed to become personally available.
This reverses the original’s atmospheric certainty. Love may indeed be in the air, but air is not possession. Everybody breathes the same environment while receiving radically different quantities of affection, recognition, safety, and intimacy. A public culture can celebrate romance continuously while individuals remain isolated inside it.
The cover works because the duo does not sneer at the song. Irony would be too easy. Marcus’s vulnerability allows familiar words to become strange again, while Daniel’s sparse arrangement removes some of the disco-era certainty and leaves the promise exposed.
The lonely narrator is not outside love. His attention to its absence proves involvement. Indifference would require no song.
“Wah Wah” celebrates the Australian knitwear label founded by designer and musician Kaylene Milner, a project built around collaborations with artists and bands. Clothing here is neither empty fashion nor mere merchandise. A knitted garment can carry music history, illustration, labor, warmth, humor, and public identity directly on the body.
The title also names a guitar effect whose sound seems to speak without forming words. Pressing the pedal changes the instrument’s frequency emphasis, creating a mouthlike opening and closing. Wah-wah is therefore clothing and sound, visual pattern and vocal imitation.
This doubleness suits Hot Tubs Time Machine. Marcus’s voice often occupies the space between speech and singing, while Daniel’s instruments dress the speech without concealing its shape. The arrangement is knitwear for a story: structured, warm, patterned, and capable of becoming gloriously loud in ways sober taste may not approve.
Fashion is sometimes treated as superficial because it concerns surfaces, but surfaces are where bodies meet public interpretation. A person may choose clothing for comfort, affiliation, play, camouflage, gender, memory, or the desire to turn an ordinary day into visual event. Wah Wah’s “minimal effort, maximalist dressing” could almost describe the duo’s music: a few musical elements supporting an extravagant internal excursion.
“Marcus’ Brain” closes by revealing the mechanism that has generated the previous thirteen songs. Marcus reflects upon growing up with a non-verbal learning disorder, a neurological profile often involving difficulty processing visual-spatial information, nonverbal cues, coordination, or other information not primarily organized through language.
The title resists abstraction. It is not “The Brain,” “Neurodivergence,” or “Learning Disorder.” It belongs to Marcus. Diagnosis may describe recurring features, but it cannot replace the person living through their particular combination.
The album has already demonstrated how that brain works artistically. A stolen sweet becomes a theory of morality and aging. A guest-list position becomes an ethical crisis. A misleading place name becomes philosophy. Soup becomes geography. Football becomes an argument with nostalgia. A sound engineer becomes a lesson in labor. These are not random comic tangents. They are evidence of intense verbal processing applied to aspects of life that other people move past without naming.
Humor becomes a navigational tool. When nonverbal information is uncertain or socially exhausting, language can be used to inspect the world repeatedly, turning situations around until hidden assumptions become visible. Marcus’s one-liners are funny because they often reveal the literal structure beneath a convention everyone else has agreed not to examine.
Daniel’s role is unusually compassionate without becoming sentimental. He does not correct Marcus into conventional vocal phrasing or demand that the narrative reach conclusions at expected points. From the project’s beginning, he understood that anxiety around recording could alter the performance, so he created circumstances in which the voice could emerge before self-consciousness closed around it.
This raises complicated questions about spontaneity and consent, but Daniel’s description makes clear that the method belonged to an ongoing friendship and was revealed immediately afterward. What he preserved was not a private confession stolen for public use. It was the sound of a collaborator speaking before the official idea of “recording a vocal” had caused the body to tighten.
That looseness remains audible on Food & Ruins even though the record is assembled from several years and many contributors. Marcus appears to be discovering what he thinks through the act of saying it. Daniel listens structurally, finding the bass movement, beat, guitar tone, clarinet line, or empty space capable of letting the discovery remain visible.
The scattered recording history becomes an advantage. Albums are often praised for unity, but unity can be imposed by removing whatever does not match the central plan. Food & Ruins finds unity through the mind observing the material. Different instruments, rooms, years, guests, and subjects become coherent because Marcus’s attention moves through them in a recognizable way.
The album’s genre tags reveal the duo’s comic accuracy: bedroom pop, flunk punk, friend wave, hospital rock, and rainbow blues. These are not merely jokes about the absurd proliferation of genre names. They identify social and material conditions. The music comes from rooms, failed expectations, friendship, medical experience, and sadness that refuses monochrome.
“Friend wave” may be the best description. A wave moves energy through material without requiring the material itself to travel the full distance. Friendship does something similar. One person’s confidence, curiosity, humor, or musical idea passes through another and continues outward in altered form.
Daniel and Marcus stand on the cover holding sticks rather than instruments, but those sticks tell us something important. Children understand that a good stick can become staff, sword, detector, instrument, walking aid, pointer, measuring device, or artifact. Its value lies in the imagination meeting the object.
Hot Tubs Time Machine has retained that ability. A bass line can become a road through a story. A drum machine can become social awkwardness. A keytar can become guest-list bureaucracy. A clarinet can become food memory. A cassette can become a time machine because magnetic material carries four years of scattered rooms into the present.
The ruins behind them are not visibly human-made. They are geological formations weathered into monumental shapes, reminding us that “ruin” is partly an interpretation. Rock does not experience itself as a damaged building. Human eyes see towers, walls, faces, fortresses, and remains because imagination keeps converting nature into evidence of vanished intention.
Food receives similar imaginative work. Soup is never merely liquid containing nutrients. It becomes family, city, migration, class, comfort, memory, disgust, identity, and gold. Human beings survive by transforming matter into meaning, then occasionally mistake the meaning for a natural property of the matter.
This album delights in catching that transformation while it happens. Marcus notices the instant an ordinary phrase begins behaving strangely. Daniel notices the instant a minimal arrangement can hold the phrase without flattening it. Their music lives at the point where conversation develops a groove and a groove begins thinking.
The result is funny without using humor as a shield against sincerity. “Dear British Museum” is angry. “Marcus’ Brain” is vulnerable. “Biffo” confronts cherished ugliness. “Love Is in the Air” risks tenderness. The jokes do not neutralize these feelings. They make the feelings socially bearable enough to remain in the room.
Food & Ruins finally suggests that culture is neither the magnificent monument nor the meal alone. It is the strange accumulation connecting them: who cooked, who ate, who served, who owned the land, who collected the objects, who mixed the show, who got through the door, who received credit, who was misunderstood, and who remembered the story later.
Two men stand before ancient rock holding excellent sticks.
One has a song in his brain.
The other is already building it a room.

Thorn Wych - 2024 - Aesthesis

 

Hood Faire – HDFR012

A blindfolded woman sits upon a couch holding an instrument that appears to have grown halfway between a tree branch and a medieval fiddle. Its body is thick, pale, scarred, and visibly handmade. The neck rises toward a carved open structure resembling a small boat, rib cage, seed pod, or protective symbol. A bow crosses the instrument while a sleeping dog lies curled across her lap, completely undisturbed by whatever rite may be taking place above it. The photograph has been distressed until it looks older than its subject, covered with dust, scratches, stains, and pale abrasions. Thorn Wych’s name floats in the corner like a hurried signature. Aesthesis crouches near the dog in small handwritten letters, almost hiding from the larger image.
The blindfold shifts the cover away from performance and toward reception. The player cannot guide herself through ordinary sight. Touch locates the bow and strings. Hearing measures pressure, pitch, repetition, and resonance. The instrument rests against the body, so vibration can be perceived through bone and skin before it is interpreted as music. The photograph therefore removes the sense most associated with judging an image while presenting an album whose title concerns sensory perception.
Aesthesis, or aisthesis, lies near the root of “aesthetics,” but its older meaning is more bodily than the modern idea of artistic taste. It concerns sensation, perception, the event through which something outside the self enters awareness. Before a listener decides that a sound is beautiful, ugly, traditional, electronic, sacred, crude, frightening, or soothing, the sound must first touch the body. Thorn Wych makes music inside that earlier instant.
Her instruments intensify this emphasis because they have not been standardized enough to disappear behind technique. A conventional violin carries centuries of accumulated design, pedagogy, repertoire, and expectation. The listener knows approximately what a violin is supposed to sound like, even when a musician deliberately violates that expectation. Thorn Wych’s Bowstrum arrives without an inherited public agreement. Its range, tuning, resistance, resonance, and correct manner of handling belong partly to the branch from which it was made and partly to the person who gradually discovered how that branch wished to become audible.
The Bowstrum began when Thorn Wych found limbs cut from a wych elm in a local park and took one home. Before that, she had started building instruments from Christmas trees left on the street for collection, turning discarded ceremonial trees into fretless string instruments. The practical origin matters. This is not luxury craft based upon selecting flawless wood from a specialist supplier. It begins with what has already been cut, abandoned, gifted, or found.
A branch spends time in her living room before its purpose becomes clear. She looks at it, handles it, and waits until its shape suggests what instrument it can become. This language can be understood spiritually, imaginatively, or simply as the patience required to work with irregular material rather than forcing it into a predetermined blueprint. The branch’s bends, thickness, knots, grain, damage, and dryness all participate in the design.
“Wych” also performs a lovely double action. Spoken aloud, it sounds identical to “witch,” strengthening the project’s magical and devotional atmosphere. Yet the name of the wych elm does not historically derive from witchcraft. It comes from an older word associated with pliancy and suppleness. Thorn Wych therefore joins a prickly defensive growth to bendable wood. The name contains resistance and flexibility, wound and instrument, hedge and bow.
The album opens by exposing another concealed meaning. “Aesthesis” and “Ouch Epi Ptoe” are not merely two attractive strings of mysterious syllables. Joined together, they approach Esthesis-Ouch-Epi-Ptoe, a being named in The Secret Book of John as the mother of demons or forces associated with pleasure, desire, grief, and fear. Those passions then generate arrogance, envy, pain, anger, bitterness, lust, dread, shame, anguish, and other states through which embodied life becomes psychologically entangled.
This transforms the title immediately. Aesthesis is not only innocent sensory awareness. Sensation opens the gates through which attachment, aversion, pleasure, fear, longing, and suffering enter. The body perceives, then perception becomes appetite. Appetite becomes action. Action becomes memory. Memory changes what will be perceived next.
“Ouch Epi Ptoe” sounds as though a mouth is discovering language while being pulled through machinery. Bowed tones scrape and circle beneath vocal shapes that resemble prayer, alarm, infant speech, prophecy, and phonetic debris. The voice does not explain the spiritual system from which the name was taken. It enacts the condition of language before explanation has organized it.
Glossolalia is often described as speaking in tongues, but that description can make it seem like failed ordinary language. Within devotional practice, its lack of semantic control is the point. The speaker allows rhythm, breath, repetition, pitch, and involuntary syllable to precede the conscious construction of a message. Thorn Wych has said that fixed lyrics would stunt the spiritual experience. The voice is not trying to tell us what prayer means. It is trying to remain inside prayer before meaning hardens around it.
This approach carries risk. A private invented language can easily become theatrical exoticism, particularly when surrounded by drones, handmade instruments, serpents, trees, and references to ancient religious texts. Listeners may lazily call it primitive, tribal, timeless, or pagan, words that flatten distinct cultures into one imagined premodern elsewhere. Aesthesis is stronger when heard not as an attempted reconstruction of any lost people but as one contemporary person’s deliberately syncretic devotional practice.
Its materials are specific even when their combination is unprecedented: a Gnostic Christian cosmology, the biblical story of Samson, Asherah, Lata Mangeshkar’s recordings of Meera bhajans, a British fantasy film from 1940, Lancashire trees, homemade electronics, YouTube-assisted instrument building, circuit bending, loop pedals, a living-room recording setup, and the artist’s own faith. This is not ancient music preserved intact. It is twenty-first-century homemade music discovering how many eras can occupy one room.
“Out of the Eater Came Something to Eat” takes its title from Samson’s riddle. Samson kills a lion, later finds bees and honey inside its carcass, and converts that impossible private discovery into a wager: from the eater comes food, and from strength comes sweetness. The riddle depends upon knowledge unavailable to those required to solve it. They are not being tested on universal wisdom. They are being asked to guess one man’s secret encounter.
The image fits Thorn Wych’s entire method. A dead and dangerous body becomes a hive. Sweetness appears inside the remains of what would once have consumed the person approaching it. A fallen branch becomes a resonating body. Discarded Christmas wood becomes an instrument. Long improvisations are cut open, and usable passages are removed from inside them.
The track circles with a raga-like persistence, but the repeated foundation never becomes inert. Bowed and plucked sounds pass through delays and altered pitch until each return seems to contain another organism. The loop is both carcass and hive, a closed body within which new activity keeps gathering.
Looping is particularly suited to devotional music because it weakens ordinary progress. A popular song generally moves through a sequence that tells the listener where time is going. A loop keeps returning to a point that should already have been completed. Repetition does not erase time, but it makes time circular enough for attention to deepen rather than advance.
The circuit-bent Time Machine named among Thorn Wych’s equipment turns this into a physical joke and a practical method. Recorded sound is already a time machine. It allows a vibration produced in one room to return later in another. Circuit bending makes that return unreliable, encouraging glitches, pitch instability, unexpected connections, and behavior outside the manufacturer’s intended use.
The “machine” does not transport a body cleanly into the past. It chews the past and returns it partially transformed. This is how memory actually behaves. Details stretch, repeat, vanish, acquire emotional pitch, and become attached to events that may not originally have contained them.
“The Blue Rose of Forgetfulness” is the only piece that did not begin through the same solitary living-room improvisation used for the rest of the record. Its title joins an impossible flower to the disappearance of memory. Blue roses do not occur naturally in the deep blue imagined by legend and fantasy, so the blue rose has often signified unattainable desire, mystery, or something produced only through artifice. Forgetfulness adds another impossibility: the wish to remove knowledge without removing the person who has been shaped by it.
A rose that causes forgetting would be gift and weapon simultaneously. It could release grief, trauma, shame, or obsessive longing. It could also erase love, responsibility, history, and the evidence required to understand present conditions. To forget pain completely might mean forgetting why part of the self developed around surviving it.
The music appears to remember several places that may never have existed. Flute, percussion, voice, and bowed strings move through one another without settling into a stable geographic identity. The piece can sound archival for several seconds, then electronic processing reveals that its apparent age is being manufactured in the present.
This uncertainty is more interesting than successful imitation. An imagined folk recording from an unknown culture would merely convert unfamiliarity into costume. Thorn Wych allows the seams to remain audible. The pedal bends the handmade string. The loop exposes repetition. The edit interrupts the claim of continuous ritual. The recording dreams of another world while repeatedly admitting that the dream is being assembled at home.
“Longing Song” expands to nearly seven minutes, making desire itself the album’s longest sustained condition. The reference to Lata Mangeshkar’s Meera bhajans becomes especially illuminating here. The poetry associated with Mirabai often treats devotion through longing, addressing the divine beloved with the intensity of romantic separation. Absence does not weaken faith. Absence creates the space in which devotion burns.
Longing differs from simple wanting because it has learned to live without immediate satisfaction. Wanting seeks an object. Longing transforms the seeker. It can deepen attention, produce art, reorganize memory, and make every surrounding object carry news of what is missing.
The voice rises through layered strings with a keening intensity that never resolves into possession. The music does not arrive at the beloved, divine mother, vanished world, or completed self. It remains in transit, and the transit becomes the devotional state.
This gives Aesthesis an unusual relationship with religious certainty. Thorn Wych’s dedication to Asherah is direct, but the music does not sound doctrinally closed. It does not present an organized theology with propositions that listeners must accept. It sounds like contact being attempted through material: wood, string, breath, skin, circuits, electricity, repetition, and attention.
Asherah is associated within ancient Near Eastern religious history with motherhood, fertility, sacred trees, and cultic poles or wooden symbols. Thorn Wych identifies her devotion more personally, calling Asherah Divine Mother, Holy Spirit, and guardian of the Tree of Life. The handmade tree instruments are therefore not only convenient tools or visual extensions of folk aesthetics. Their material is part of the offering.
A tree is not represented by a flute made from plastic that has been decorated to resemble bark. The branch itself has entered the devotional circuit. It grew through rain, soil, mycelium, insects, disease, wind, pruning, and sunlight before being cut, dried, drilled, strung, bowed, electronically processed, recorded, compressed, and reproduced through speakers.
“Serpent Psalm” joins another Asherah symbol to a form historically embedded in biblical worship. A psalm is praise, lament, petition, remembrance, instruction, or communal song directed toward the divine. The serpent has been made to carry sin, danger, healing, rebirth, knowledge, sexuality, medicine, underground power, and cyclical life across different religious systems.
Here the serpent does not need to be purified into benevolent wisdom or condemned as absolute evil. It moves low through dirt and roots, the level at which Thorn Wych’s instruments begin. A snake reads the world through its whole body, receiving ground vibration directly rather than standing upright and surveying from above. It is an ideal animal for an album called Aesthesis.
The psalm winds rather than marches. Voice and instrument move through narrow tonal passages, doubling back and touching earlier phrases from another angle. The melody seems less written upon the surface than pressed through soil underneath it.
The album’s devotional world remains domestic enough to resist grandeur. The cover dog sleeps through the ceremony. This may be the image’s most important detail. Whatever spiritual contact the musician experiences, the animal detects no need for alarm. The ritual happens on familiar furniture with another creature’s warmth resting across the body.
Sacred practice is often represented through the removal of ordinary life: special architecture, ceremonial clothing, purified spaces, silence, distance from animals, food, work, and domestic disorder. Thorn Wych places the sacred directly inside the living room. The couch does not become less ordinary. Ordinariness becomes capable of holding prayer.
“Auld Haunt” turns oldness into a place one can revisit. A haunt is somewhere repeatedly visited, but it is also the action of a ghost. An old haunt may be a pub, room, path, neighborhood, memory, recurring fear, or spiritual presence whose claim upon the living has not expired.
“Auld” rather than “old” makes the title feel inherited, sung, weathered by dialect, or overheard from another century. The piece’s extended bowed tones resemble a door opening slowly because dampness has swollen the wood. Drones accumulate until the distinction between instrument and architecture becomes uncertain.
This is where the handmade construction becomes most audible as resistance. Factory instruments are designed to minimize irregularities so that players can reproduce predictable behavior. Thorn Wych’s instruments retain grain, asymmetry, scrape, instability, and animal pressure. Their apparent flaws are not merely tolerated. They give the drone an internal weather.
The familiar language of “haunted folk” can become a shortcut, reducing every rough fiddle, modal phrase, old word, and reverberant voice to a costume shop of spectral Britain. Aesthesis earns its haunting differently. Its ghosts are embedded in production. A loop is a sound returning after the original action has ended. An edit makes separated moments occupy the same present. An overdub places a later self beside an earlier self. Recording is organized haunting.
“Ramble in the Brambles” contains both speech and walking. To ramble is to move without a direct route or to speak without efficient structure. Brambles punish both activities by catching clothing and skin, forcing the body to acknowledge every careless movement.
Thorn Wych has named brambles scraping against jeans as one of her favorite sounds, alongside sodden ground beneath boots and rain on a window. This affection tells us more about the album than a list of genre influences. Her ideal sounds are produced through contact between body, weather, vegetation, clothing, soil, glass, and shelter. None belongs entirely to nature or culture.
The track is among the album’s most visibly electronic constructions. Glitches spark through the undergrowth, loops overlap, and the voice flutters between positions as though several paths through the same thicket have been recorded simultaneously. Technology does not remove the listener from the brambles. It makes the scratches recur.
A ramble lacks the heroic direction of a quest. The walker may return without having conquered, discovered, or reached anything. Attention is the result. Berries, torn fabric, mud, minor pain, altered light, and the knowledge of where the path becomes impassable accumulate without becoming achievement.
This describes Thorn Wych’s improvisation. She begins without a finished result, lays down a drone or plucked cycle, and wanders through possible additions. Later editing does not pretend the original wandering was secretly a composition all along. It gathers the places where the path became most alive.
“May the Immortal Amma Keep You Seated” sounds like blessing, joke, instruction, and threat. To remain seated may mean being protected from fear, prevented from falling, held in meditation, enthroned, immobilized, or commanded not to interrupt the ceremony.
“Amma” is a widespread maternal form, close to the first sounds a mouth can make and used in different languages and devotional traditions for mother. The immortal mother in the title need not be reduced to one historical figure. Within the record’s cosmology she joins Asherah, divine motherhood, bodily origin, and the force that keeps the listener grounded while the surrounding music loses ordinary coordinates.
Seating is also how most recorded music is encountered. The body remains in a room while sound manufactures travel, ritual, landscape, memory, and impossible architecture. The listener is kept seated while perception leaves.
“There Is Nothing in the Well” removes the expected source. Wells promise water, depth, wishes, echoes, hidden bodies, ancestral use, and access to what lies beneath the visible ground. To discover nothing there is materially alarming and symbolically worse. The route downward has failed to reach nourishment or revelation.
Yet an empty well is not literally nothing. It contains air, darkness, stone, insects, dampness, debris, history, and whatever sound is sent into it. A voice lowered into the opening returns as altered reflection. Emptiness becomes an instrument.
The track works within that acoustic logic. Sounds appear to descend and return carrying less recognizable bodies. A bowed note becomes an echo of itself before a physical wall has had time to answer. Delay pedals construct wells inside electrical circuits.
“There is nothing” may therefore be disappointment or spiritual instruction. The seeker lowers a bucket expecting a sacred object and retrieves absence. The absence reveals that expectation itself had been filling the well.
The final “Anaro Knows” closes the structure opened by the album title. Within The Secret Book of John, Anaro is associated with insight into the true character of the passions and with the material soul. If Esthesis-Ouch-Epi-Ptoe is the mother through whom pleasure, desire, grief, and fear proliferate, Anaro recognizes what those forces are.
Knowledge does not necessarily provide escape. “Anaro Knows” is not “Anaro Is Free.” The material soul remains material, embodied, perceiving, desiring, frightened, and exposed to loss. Awareness may clarify the structure without dissolving it.
The closing piece is plaintive rather than triumphant. Its melody seems to know that revelation has not repaired the world. The album began with sensation becoming passion and ends with consciousness recognizing its own entanglement.
This creates a surprisingly coherent theological arc beneath music often described as spontaneous, strange, or otherworldly. The improvisations may have been created without a predetermined album narrative, but the later sequence turns them into a descent through embodied perception. The mother of passions appears first. Hunger and sweetness emerge from death. Forgetfulness tempts. Longing extends toward the divine. The serpent receives a psalm. Old spaces return as ghosts. The body moves through thorns. The mother keeps it seated. The well proves empty. Anaro knows.
Knowing is not placed above sensation. It arrives after forty-three minutes of wood, breath, percussion, electronic damage, and repeated bodily contact. The intellect does not dominate the senses. It is born from what the senses have survived.
Hood Faire is an ideal home for this object. The label began as an outlet for small-run handcrafted CDRs and “homespun scruffy ideas,” and remains connected to the larger archival imagination of Folklore Tapes. The word “faire” suggests a gathering where craft, performance, trade, food, spectacle, belief, and local oddity temporarily occupy the same ground.
Thorn Wych’s work belongs to that ground without becoming a heritage demonstration. She is not preserving a known regional instrument or faithfully reproducing an established folk repertoire. She is inventing instruments from regional trees and using modern electronics to make devotional music for a practice that is personally assembled from several religious and artistic histories.
Its punk quality lies here. Nothing about Aesthesis sounds like conventional punk rock, but the record refuses to wait for authorized training, manufactured instruments, institutional theology, proper language, a professional studio, or agreement about which traditions may be brought into the same room. Childhood pot-and-pan percussion, radio interference, cassette recording, YouTube instruction, a joinery course, discarded trees, and stubborn experimentation eventually become a complete musical world.
The world remains intentionally porous. Rain enters. Brambles enter. A dog enters. Ancient text enters through modern translation. Indian devotional recordings enter Lancashire. A 1940 fantasy film enters a circuit-bent time machine. A branch from a public park enters a living room and leaves as a bowed instrument pressed onto vinyl.
The blindfolded figure on the cover does not appear deprived. She appears to have removed one form of control. The eyes cannot supervise whether the performance looks convincing. The hand, ear, instrument, sleeping animal, and unseen room must establish their own agreement.
This is the real force of Aesthesis. It does not ask whether its world is authentic according to folk tradition, religious orthodoxy, instrument-making convention, academic composition, or electronic production. It asks what can be perceived when those authorities briefly stop telling the senses what they are supposed to find.
Wood bends. Strings catch. The loop returns with dirt upon it. A voice passes beyond language and continues praying.
The dog sleeps.
Anaro knows.