No sense of self, no consciousness of time. Rapt, attentive, hypnotic. “Take notes,” I tell myself. “The one you woo is you.” Synthesized sound effects. Others in this society see that I’m struggling, see that I’m caged, yet none lift a finger to free me. I long for the day when this country is wiped from the face of the earth. Where are the activities and environments that used to give me joy? What became of happier times of yore? Kyle Landstra’s new tape Within/Without from Muzan Editions helps to calm me, abstracts me from matters that don’t matter.
The universe is only as accessible and as comprehensible as we allow it to be. Music can seem made by chance to arrive at one’s doorstep at the precise moment in one’s progress when one needs it. “Sometimes, when I have been high,” writes William Novak, “I have felt like a visitor to another land, a land both familiar and new at the same time, only inches and moments away from the land I normally inhabit, but also remote — and uncharted on any map I have consulted” (High Culture, p. xii). He describes wanting to take notes and send postcards back to the world he normally occupies, thus counteracting the head’s tendency to forget certain parts of the experience upon reentry. So, too, these trance-scripts.
Darkness pays me a welcome visit. I become absorbed in particular parts of my body, consciousness narcotized through repetition. We experiment on our selves with rhythmic object exploration, all parts deliriously looped. Can’t I become helplessly far out for a change, as with Stopped Clock’s “A Bed & Breakfast”?
A movie/videogame soundtrack splinter array of bits of beeping honking consciousness. Tracks like that can knock you into flower-sprouting head-space. From there, we’re marched through the thrilling nightmarescape of Tanked’s “Car Crash.”
Just so long as we avoid that this evening, we’re all good. Their song “False Start” is worth a listen, too — as is the rest of the cassette on which those tracks appear. A darker, deeper successor to Lightning Bolt. These are spaces the psyche reaches toward: “the old fight of man against gravity.” Whose voice is it that reads the eulogy? One finds a whole other palette of psychedelic voyaging when one tunes oneself to recent releases from Portland’s Never Anything Records, like Fletcher Pratt’s Selected Works (2015-2016). And let’s not forget Tombed Visions.
The world of head culture is fit to burst these days with things of great beauty — more than anyone could singly contemplate, given the shortness of life. Nevertheless, any one of these, but especially Ex-Easter Island Head’s Two Commissions for Cassette Tape, can stage for us a deeply personal ritual of sound and remembrance. Yesterday’s drive to dinner felt like it took forever. Sky grey. Needle pricks of rain. I felt bad for Sarah, as she’s been sick with pneumonia recently — a string of ill health over the last year or two, really. It worries me. I wonder aloud to her, “Is that an appropriate thing to include here?” She nods and says it’s fine. One needn’t fear: I shall build a pyramid or a sweat lodge in which to heal us. Welcome to the augmented reality videogame known as consciousness. Camera swoops down and surveys a virtual terrain. Don’t stress about work, don’t allow it to occupy any more than a minimum of thought. Use the rest of your time to roam free. Where are we when we enter a fiction? And why need we fear it if the fiction is to our liking?