Yes, for this artifact (arty-fact/art-efact), a stand-out act of self-defiance, blended with determination through all the uncertainty around. Yes, for the sincerity of being exposed and face to doubt somewhere, anytime, in a long-term care of the unexpected to come up. Yes, for releasing a coherent sound attachment of what is supposed to be a hell of a self-exam under an overwhelming contingences’ preassure. Yes, (thanks to Eric Timothy Carlson), for those hard to be depicted and erratic amount of thoughts to become a simple and suggestive sequence of numbers and symbols, signals and references encoded down on a mapping of devastation. Yes, for that encrypted ten tracks working for a ‘Catch-22’ way-out. Yes, that’s the paradoxical point: How an appreciate crafty folk composer and heart-felt singer can get over a troubled time and avoid self-deceiving on practical solutions, try to look for a convincing answer instead of giving away, tired of being bored, without dissolving himself in the act?
Yes, by being courageous, not as a will per se, but as a fighting reaction to the inputs coming around, either those should be a demanding personal or artistic circumstances. Yes, in this case, probably both are coming along so closely. It’s when an artifact is built up to help oneself to leave behind all that is needed. No matter if this artifact is a mental construction, a new activity or a new circle of relationships. Yes, we are in the first assumption, that contemplates the resting two. That kind of release is like a skydiving jump off. You don’t approach to anything, but everything is approaching to you, including an unknown way of shouting out loud, an unknown voice trembling and modulated by the wind, the falling flow you are penetrating against to. There are many ways to create an artifact, but all of them are bound to find out your inner-self in other built environment. You should say it’s crazy and, yes, it’s crazy. Nobody goes away from a secure comfort zone, but those who need it over consequences, those who dare and lead for it.
That was my first impression when I listened for the first time “10 d E A T h b R E a s T ⊠ ⊠”. The rest it’s all been heard, read and confirmed for ’22, A Millon’. Yes, Bob Dylan did it as well as Radiohead. Yes, there are digital tools, vocoders modulating, dialoguing, inquiring an organic prime voice. There is Laurie Anderson. Yes, there are those samplings for a pray. There are beautiful electronics as mental rushes. Of course, there’s James Blake, even The Chieftains and Van Morrison’ saxophone glow. There is Justin Vernon, Bon Iver’ human dichotomy of an artifact.