____twoism

North by North wrote:Full London on YT a few hours ago… that didn’t take long

Den wrote:Reporting back from the first New York session. I loved how they stamped all of our hands with a hexagon for seemingly no purpose other than to stamp our hands with a hexagon. The merch table was visibly empty - the people working were wearing the shirts themselves, and the cassettes weren't physically present. No atmosphere of aggressive commerce (also, it was great to meet Lincolnshire Poacher while waiting in line). You could walk around the church freely.

The lights shifted to announce the beginning without fanfare. Cue disclaimer that we were about to take part in MBI’s mass behavioral initiative. In a sense, the session felt like an experiment because, unusually, we weren’t listening to the album alone, or with a few close friends, but with hundreds of people.

I was sat behind a wanker that kept using his phone and talking over the music. I immediately questioned my decision to sit a few rows back (to avoid being too close to the PA). I want to say that witnessing people in a state of ‘checking’ as the album played felt profoundly sad and uncivilized. While caught in this internal narrative throughout Prophecy At 1420 Mhz, I thought about my own apathy to the way that screen addiction has become normalized in my life and how I am not willing to accept this as a path forward.

Instead of taking vengeance, I dropped the tension, closed my eyes for almost the entirety of the session, and opened up to the music without holding onto any expectations. I’d occasionally open my eyes - glasses off - and look into the electric candle on the floor, which produced astigmatic light effects. I thought there was a bit of a lack of clarity in the PA, or this was just the acoustics of the space. The bass and drums sounded massive.

The session itself - and this also relates to the experimental nature of hearing the album in this setting - had an oneiric effect on my listening experience (I learned this word from a BOC interview). There is a unique shape to the album that I cannot yet articulate.

Here are my impressions from memory.

The vocals throughout Age of Capricorn and Father And Son are insane. There was also a vocal part somewhere that shockingly sounded like clear singing.

I had to restrain myself from laugh-crying during Naraka. Astounding.

I agree with edgbf, I’m always wanting more Mike right hand keyboard moments. I think they established their approach to the melodies on Inferno with Prophecy At 1420 Mhz - they’re still fully formed, there’s just so much space in every phrase. Another example of this is the song with the sitar melody. It stunned me. The way everything comes to a rest, and then returns from the top, and cycles around again and again is so powerful. I was hit with a totalizing feeling of - and I think there will be a moment like this for everyone here on the record - “this was made for me as a listener.” I felt tuned into my instincts too because I’d predicted a few weeks ago that we’d hear some Hindustani instruments.

There was a track with guitar that felt like a call to Mogwai. I loved it.

The description above of Arena Americanada as a “flex” of harmony is so on point. An apt title because one can hear this playing in a stadium.

I did not think the Tape 05 music would be on the record because it didn’t feel at home sequenced early - it clicks in its position as Deep Time. I still think there is a mixtape quality to the album, although it’s not as collaged as I’d expected initially after hearing Prophecy At 1420 Mhz.

There are a few tracks that come to total silence beautifully.

After one listen You Retreat In Time And Space sounded like a Japanese Bonus Track for The Campfire Headphase to me. Or a song they made for Campfire that didn't quite fit on the album. Before the song began, I felt lost in the dark. I wanted one more moment of wide open music before the album's end, and out of nowhere the fire inside the hexagon cut to an intimate Super 8 montage of a family in the outdoors. The effect of the melody and instrumentation (chimes, vibraphone/marimba, bass guitar) in contrast to the music that precedes it is extremely moving. I thought of the question they’re always asking, “how can things be different?” Then, I Saw Through Platonia.

Skyraider wrote:

North by North wrote:Full London on YT a few hours ago… that didn’t take long

Does anyone know WHICH of the London sessions it came from?

Den wrote:Reporting back from the first New York session. I loved how they stamped all of our hands with a hexagon for seemingly no purpose other than to stamp our hands with a hexagon. The merch table was visibly empty - the people working were wearing the shirts themselves, and the cassettes weren't physically present. No atmosphere of aggressive commerce (also, it was great to meet Lincolnshire Poacher while waiting in line). You could walk around the church freely.

The lights shifted to announce the beginning without fanfare. Cue disclaimer that we were about to take part in MBI’s mass behavioral initiative. In a sense, the session felt like an experiment because, unusually, we weren’t listening to the album alone, or with a few close friends, but with hundreds of people.

I was sat behind a wanker that kept using his phone and talking over the music. I immediately questioned my decision to sit a few rows back (to avoid being too close to the PA). I want to say that witnessing people in a state of ‘checking’ as the album played felt profoundly sad and uncivilized. While caught in this internal narrative throughout Prophecy At 1420 Mhz, I thought about my own apathy to the way that screen addiction has become normalized in my life and how I am not willing to accept this as a path forward.

Instead of taking vengeance, I dropped the tension, closed my eyes for almost the entirety of the session, and opened up to the music without holding onto any expectations. I’d occasionally open my eyes - glasses off - and look into the electric candle on the floor, which produced astigmatic light effects. I thought there was a bit of a lack of clarity in the PA, or this was just the acoustics of the space. The bass and drums sounded massive.

The session itself - and this also relates to the experimental nature of hearing the album in this setting - had an oneiric effect on my listening experience (I learned this word from a BOC interview). There is a unique shape to the album that I cannot yet articulate.

Here are my impressions from memory.

The vocals throughout Age of Capricorn and Father And Son are insane. There was also a vocal part somewhere that shockingly sounded like clear singing.

I had to restrain myself from laugh-crying during Naraka. Astounding.

I agree with edgbf, I’m always wanting more Mike right hand keyboard moments. I think they established their approach to the melodies on Inferno with Prophecy At 1420 Mhz - they’re still fully formed, there’s just so much space in every phrase. Another example of this is the song with the sitar melody. It stunned me. The way everything comes to a rest, and then returns from the top, and cycles around again and again is so powerful. I was hit with a totalizing feeling of - and I think there will be a moment like this for everyone here on the record - “this was made for me as a listener.” I felt tuned into my instincts too because I’d predicted a few weeks ago that we’d hear some Hindustani instruments.

There was a track with guitar that felt like a call to Mogwai. I loved it.

The description above of Arena Americanada as a “flex” of harmony is so on point. An apt title because one can hear this playing in a stadium.

I did not think the Tape 05 music would be on the record because it didn’t feel at home sequenced early - it clicks in its position as Deep Time. I still think there is a mixtape quality to the album, although it’s not as collaged as I’d expected initially after hearing Prophecy At 1420 Mhz.

There are a few tracks that come to total silence beautifully.

After one listen You Retreat In Time And Space sounded like a Japanese Bonus Track for The Campfire Headphase to me. Or a song they made for Campfire that didn't quite fit on the album. Before the song began, I felt lost in the dark. I wanted one more moment of wide open music before the album's end, and out of nowhere the fire inside the hexagon cut to an intimate Super 8 montage of a family in the outdoors. The effect of the melody and instrumentation (chimes, vibraphone/marimba, bass guitar) in contrast to the music that precedes it is extremely moving. I thought of the question they’re always asking, “how can things be different?” Then, I Saw Through Platonia.

Omikron wrote:

Den wrote:Reporting back from the first New York session. I loved how they stamped all of our hands with a hexagon for seemingly no purpose other than to stamp our hands with a hexagon. The merch table was visibly empty - the people working were wearing the shirts themselves, and the cassettes weren't physically present. No atmosphere of aggressive commerce (also, it was great to meet Lincolnshire Poacher while waiting in line). You could walk around the church freely.

The lights shifted to announce the beginning without fanfare. Cue disclaimer that we were about to take part in MBI’s mass behavioral initiative. In a sense, the session felt like an experiment because, unusually, we weren’t listening to the album alone, or with a few close friends, but with hundreds of people.

I was sat behind a wanker that kept using his phone and talking over the music. I immediately questioned my decision to sit a few rows back (to avoid being too close to the PA). I want to say that witnessing people in a state of ‘checking’ as the album played felt profoundly sad and uncivilized. While caught in this internal narrative throughout Prophecy At 1420 Mhz, I thought about my own apathy to the way that screen addiction has become normalized in my life and how I am not willing to accept this as a path forward.

Instead of taking vengeance, I dropped the tension, closed my eyes for almost the entirety of the session, and opened up to the music without holding onto any expectations. I’d occasionally open my eyes - glasses off - and look into the electric candle on the floor, which produced astigmatic light effects. I thought there was a bit of a lack of clarity in the PA, or this was just the acoustics of the space. The bass and drums sounded massive.

The session itself - and this also relates to the experimental nature of hearing the album in this setting - had an oneiric effect on my listening experience (I learned this word from a BOC interview). There is a unique shape to the album that I cannot yet articulate.

Here are my impressions from memory.

The vocals throughout Age of Capricorn and Father And Son are insane. There was also a vocal part somewhere that shockingly sounded like clear singing.

I had to restrain myself from laugh-crying during Naraka. Astounding.

I agree with edgbf, I’m always wanting more Mike right hand keyboard moments. I think they established their approach to the melodies on Inferno with Prophecy At 1420 Mhz - they’re still fully formed, there’s just so much space in every phrase. Another example of this is the song with the sitar melody. It stunned me. The way everything comes to a rest, and then returns from the top, and cycles around again and again is so powerful. I was hit with a totalizing feeling of - and I think there will be a moment like this for everyone here on the record - “this was made for me as a listener.” I felt tuned into my instincts too because I’d predicted a few weeks ago that we’d hear some Hindustani instruments.

There was a track with guitar that felt like a call to Mogwai. I loved it.

The description above of Arena Americanada as a “flex” of harmony is so on point. An apt title because one can hear this playing in a stadium.

I did not think the Tape 05 music would be on the record because it didn’t feel at home sequenced early - it clicks in its position as Deep Time. I still think there is a mixtape quality to the album, although it’s not as collaged as I’d expected initially after hearing Prophecy At 1420 Mhz.

There are a few tracks that come to total silence beautifully.

After one listen You Retreat In Time And Space sounded like a Japanese Bonus Track for The Campfire Headphase to me. Or a song they made for Campfire that didn't quite fit on the album. Before the song began, I felt lost in the dark. I wanted one more moment of wide open music before the album's end, and out of nowhere the fire inside the hexagon cut to an intimate Super 8 montage of a family in the outdoors. The effect of the melody and instrumentation (chimes, vibraphone/marimba, bass guitar) in contrast to the music that precedes it is extremely moving. I thought of the question they’re always asking, “how can things be different?” Then, I Saw Through Platonia.

Beautifully worded. Do you write for a living? Also, 342 posts in 6 weeks must surely be a new record! (Not the vinyl kind…)

Den wrote:Reporting back from the first New York session. I loved how they stamped all of our hands with a hexagon for seemingly no purpose other than to stamp our hands with a hexagon. The merch table was visibly empty - the people working were wearing the shirts themselves, and the cassettes weren't physically present. No atmosphere of aggressive commerce (also, it was great to meet Lincolnshire Poacher while waiting in line). You could walk around the church freely.

The lights shifted to announce the beginning without fanfare. Cue disclaimer that we were about to take part in MBI’s mass behavioral initiative. In a sense, the session felt like an experiment because, unusually, we weren’t listening to the album alone, or with a few close friends, but with hundreds of people.

I was sat behind a wanker that kept using his phone and talking over the music. I immediately questioned my decision to sit a few rows back (to avoid being too close to the PA). I want to say that witnessing people in a state of ‘checking’ as the album played felt profoundly sad and uncivilized. While caught in this internal narrative throughout Prophecy At 1420 Mhz, I thought about my own apathy to the way that screen addiction has become normalized in my life and how I am not willing to accept this as a path forward.

Instead of taking vengeance, I dropped the tension, closed my eyes for almost the entirety of the session, and opened up to the music without holding onto any expectations. I’d occasionally open my eyes - glasses off - and look into the electric candle on the floor, which produced astigmatic light effects. I thought there was a bit of a lack of clarity in the PA, or this was just the acoustics of the space. The bass and drums sounded massive.

The session itself - and this also relates to the experimental nature of hearing the album in this setting - had an oneiric effect on my listening experience (I learned this word from a BOC interview). There is a unique shape to the album that I cannot yet articulate.

Here are my impressions from memory.

The vocals throughout Age of Capricorn and Father And Son are insane. There was also a vocal part somewhere that shockingly sounded like clear singing.

I had to restrain myself from laugh-crying during Naraka. Astounding.

I agree with edgbf, I’m always wanting more Mike right hand keyboard moments. I think they established their approach to the melodies on Inferno with Prophecy At 1420 Mhz - they’re still fully formed, there’s just so much space in every phrase. Another example of this is the song with the sitar melody. It stunned me. The way everything comes to a rest, and then returns from the top, and cycles around again and again is so powerful. I was hit with a totalizing feeling of - and I think there will be a moment like this for everyone here on the record - “this was made for me as a listener.” I felt tuned into my instincts too because I’d predicted a few weeks ago that we’d hear some Hindustani instruments.

There was a track with guitar that felt like a call to Mogwai. I loved it.

The description above of Arena Americanada as a “flex” of harmony is so on point. An apt title because one can hear this playing in a stadium.

I did not think the Tape 05 music would be on the record because it didn’t feel at home sequenced early - it clicks in its position as Deep Time. I still think there is a mixtape quality to the album, although it’s not as collaged as I’d expected initially after hearing Prophecy At 1420 Mhz.

There are a few tracks that come to total silence beautifully.

After one listen You Retreat In Time And Space sounded like a Japanese Bonus Track for The Campfire Headphase to me. Or a song they made for Campfire that didn't quite fit on the album. Before the song began, I felt lost in the dark. I wanted one more moment of wide open music before the album's end, and out of nowhere the fire inside the hexagon cut to an intimate Super 8 montage of a family in the outdoors. The effect of the melody and instrumentation (chimes, vibraphone/marimba, bass guitar) in contrast to the music that precedes it is extremely moving. I thought of the question they’re always asking, “how can things be different?” Then, I Saw Through Platonia.

Skyraider wrote:

North by North wrote:Full London on YT a few hours ago… that didn’t take long

Does anyone know WHICH of the London sessions it came from?

Skyraider wrote:

North by North wrote:Full London on YT a few hours ago… that didn’t take long

Does anyone know WHICH of the London sessions it came from?

• The words of Peter or Parker being repeatedly, remind me of the last half of Telephasic Workshop.
  
  Short track where it mentions something about a fetus
  
  And lastly, this track being played reminded me of Peacock Tail and the self-titled track In A Beautiful Place Out In The Country. Bass guitar strings being plucked are very prominent with a hint of Moog synthesizer bass that is barely noticeable.

saturdayindex wrote: “Into the Magic Land” was the closest to “Dayvan Cowboy” vibes, with shimmering guitars and uplifting chord progs.

writetomhatcher wrote: A track with a man spelling out “you are marvelous”??