Artwork credits: cordani @ est00.comI'm toying with the risk of sounding like a broken record, but I feel I have to get past troubles off my chest. The woman I've waxed lyrical of in the 15 Minutes Of Fame Mix Series blurbs was sent the writeup I pondered on for over a year. The initial response I received wasn't unexpected - her friend jumped in to reply to me with an expletive, saying "don't try to start your psycho games again", whereby I sent him an email, explaining my perspectives diplomatically, and gave him the download link to use as he liked. She, as it happens, never responded. A Muttley message is for life, not just for pixelated fairytales, though it appears I've been misunderstood severely.
"Time Heals All Wounds" consists of several symbolic interjections. Predominantly a drum and bass mix, my first since "Departure" in August 2006, the content respects past idiosyncracies I made in 2007, most heartily in The Dastardly Diaries Chapter 2. In this project, Mick Dastardly (aka Muttley) took on the task of presenting a multi-genre, all-nighter track showcase, coupled with a webzine, themed to complement the IChiOne events in Amsterdam (see SubVersion Stop 3), and two other causes not affiliated, or acting in conjunction with the Dutch event.
To download it, click here.
Comprising 150 audio clips and seven mixes, the sequence was three-tier; for one, it highlighted descriptive benefits in relation to basic genre tags - "Attitude", "Chill" and "Deepersounds" titles were attributed to each audio clip, allowing users to shape their own playlists; second, it juxtaposed aesthetic transitions where the tunes could be blended; third, cryptic data snippets covering science, nature, insomnia and etymology were submitted to aid crossing the boundaries of cigarette card-styled, information station emulation. "Time Heals All Wounds" is the continuation of such progress. The lyrical pigment of "Billion Dollar Gravy" - "Baby, don't you leave me", is a sentimental ploy to the woman I lost in the foliage.
Fanu's "Tribes (remix)" symbolises the alternation of personalities I could trust during my diagnosis of suffering from psychotic depression. "New Day" by ICR is the amulet of respect I bestow on the woman for moving on with her life. "Mystery Mating" objectifies the surfeit of sex and quick love that she appeared to have aggregated. "Barmaid" - "Nobody had a chance to be somebody...so, anyway, what? Hm?" externalizes the self-doubt and disconnected pitfalls of choice.
"You Are Never Alone" touches on the unbridled support of Bridewell Gardens in my recovery. "Calm Before The Storm (Flight Of The Albatross)" contains the vocal "You would say you'd care for me", then questioning the soloistic - "No crying, no lying, no trouble beautiful girl". Khonnor's "Daylight And Delight" centres the discerned emotions in a diaspora of confusion - "When I think that I am safe, something happens that makes me feel otherwise, because I can feel the pain of something better, could kill me". Panda Bear's "I m Not" recalls the minutes I spent plotting a graph of what I was listening, in relation to the woman overseeing it - like last.fm, it drew on track orders as a whole as opposed to singular rites. She replied to me indirectly with "I b there but not in 0s and 1s son", asserting the broken letters of "I m Not".
Badmammal's "Beach Song" is the epitome of advancing post "Murray Ostril: They Don't Sleep Any More On The Beach", one hidden (and the concluding) track in the TDD 2 collage, by Godspeed You! Black Emperor. It is installed to identify a gain of self-esteem from the last project. In the "Clipticisms" (TDD 2's idiosyncracy system) I became very forlorn and distressed as to whether I had insulted the woman with my sequence of anecdotes - copied, pasted and methodized from the internet. Anyone knowing her screen alias could compose thought onto why I had paired her name with a quote rendering how some individuals have developed "a fake personality for themselves in the absence of one of their own". Today I regret the inclusion, whereas at that juncture I was low on sleep and pretty manic. I even have regrets as to apologising to the confederate of the data illustrated. But in all fairness, no-one else but me could have noticed, and to summarise, it shouldn't be a big deal. I'm undoubtedly the sole perpertrator whose lost hours of slumber over it.
I have hopefulness that you'll like "Time Heals All Wounds". It was originally created for my youngest grandmother's 74th birthday. Today it contains further reference and importance. It'll be the last drum and bass selection for a while, so if you're ready for another, please do let me know and I'll get on the case.
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