I couldn't restrain myself from doing the math here, if the Earth's 4.6 Ga was compressed to 24 hours, then the 13 year wait between TH and Inferno would be equivalent to 244 microseconds, which is about the duration of a very fast camera shutter exposure , who said that BoC are slow?
Not sure if anyone’s pointed this out yet, but from 0:41 to 1:12 you can hear what sounds like a Buddhist chant in the background, right alongside the vocal sample from the Crowley passage.
"When I was a fetus I was nostalgic for when I was sperm".
Ectonaut wrote:Aleister Crowley’s concept of Aeons is, of course, something entirely different. Yet when these two concepts are brought together, the opening sample becomes extraordinarily powerful. It evokes a transformation occurring on scales of time and change that lie beyond all human spatial and temporal comprehension. At that point, reason itself departs.
I love your post. I was kinda puzzled by All Reason Departs at first, it felt very abstract but also conveying something specific at the same time, especially considering its transition from Deep Time. But I couldn't quite grasp what "story" was being told. Looking up Crowley's concepts and reading your post helped better grasp the whole idea. Thank you.
All the interesting discussion about what the track might "mean" aside -
Cupz wrote:when most elements die down and its just the bass and kick going all glorpygloopy sounds sooooo satisfying. Next-level acid if you ask me.
Totally agree. I could easily take two whole albums of just modular synth BOC like this. Probably has at least two of my favourite moments off the album in it.
People who have said it's like Autechre - if I love the second half of this track, what Au should I go away and listen to?
Techboy wrote:All the interesting discussion about what the track might "mean" aside -
Cupz wrote:when most elements die down and its just the bass and kick going all glorpygloopy sounds sooooo satisfying. Next-level acid if you ask me.
Totally agree. I could easily take two whole albums of just modular synth BOC like this. Probably has at least two of my favourite moments off the album in it.
People who have said it's like Autechre - if I love the second half of this track, what Au should I go away and listen to?
I saw someone mention Chiastic Slide which isn't a bad shout but to me it bears a closer resemblance to parts of Quarisitce. Maybe even some of the more subdued parts of the AE live 22- stuff.
I’m unhealthily obsessed with this one. The first half is so 80s anime cyberpunk sounding, with the electonic bits and folky taiko ish drums (sorry I don’t know how to describe that kind of drum), like something from Akira or Ghost In The Shell, or the Foresaken N64 game. It reminds me if something so much and I can’t put my finger on it. Any ideas? And then the last half… well you don’t need me to tell you!
Same! This one is a meditation favorite of mine, I have analyzed it to shit and back. The first half I let it compute me... but the second half I'll never be able to get over. Tinfoil time but it sounds like the gentleman put a lot about their experiences of fatherhood in this one. Terrified of being responsible of another human being, feeling smaller than your own child when they're born, steering them along the path and letting them reveal themselves, oh dear god you're starting to look like me, oh dear god you're starting to sound like me!.....WHAT A RELIEF!
Then pair the additional 'Father and Son' layers................. WHEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEWWWW!!!!!!!! Part of our secret consciousness all along!
This song still gives me prominent Mark Snow (X-files composer) vibes 100%. Especially with those trailing arpeggios…. very “mysterious and spooky”. Also HHLL when the arpeggios come in and even the haunting main synth progression too. This entire album reminds me of those religious cult X-files episodes, especially this song.
I love this video because it really is the picture for this track. I get heavy fascism vibes upon listening to this one. The great dictatorship circus.
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