It feels just like getting hit by a single anxious thought that then won't go away, that sticks around, pecking at you, taking up all your attention and energy, feeding and growing, spiralling, catastrophising out of control, until you're completely convinced that only the absolute worst possible thing can happen and that you're worthless and insane for even thinking this. It sounds like it's building up to something absolutely awful. It's one of the most horrible, unpleasant, unsettling pieces of music I've ever heard, competing with Aphex Twin's Ventolin and Krzysztof Penderecki's Threnody for the Victims of Hiroshima. And as we slip into solitude to avoid the anxiety, depression takes its place, and all we can think of is how we'd be better off dead.įelbomlasztott Mentőkocsi takes us back not only to instrumentals, but in fact removes even the percussion. Something we can't identify or describe but that makes certain things difficult, that hurts us somehow, that makes us feel anxious and ill-at-ease. We've been aware there might be something wrong. The introduction of vocals is a departure that feels natural. Its place within the aesthetic structure of the album is brilliant as well: the slower, plodding pace is a break from Szerencsétlen's harsh breaks. Now when we get a track that is very explicitly about killing oneself it does not feel tawdry and contrived as it might were it the first track ("Hello this album is about being sad and I'm going to make sure you know this by putting a sad song about suicide right at the beginning"). We've had suggestions of the mood, delivered to us organically in the form of pure instrumentals. I feel that this is the perfect place in the album to do this. It uses sampled vocals from Billie Holiday's rendition of Szomorú Vasárnap ("Gloomy Sunday") by Hungarian Composer Rezső Seress. Öngyilkos Vasárnap is the first track that makes the tone of the album explicit. Trivial or mildly comical to others is awful and hideous and unloveable To other people but making a fool of themselves, and what might be It's a socially awkward person, trying to appeal It tentatively steps forward, before falling over itself in an Sikertelenség is a short introduction, a creepy, awkward little piano It's practically been on loop for me since then.Įvery track feels like it's describing something, some emotion, some aspect of being afflicted with mental illness. However, some time last year I found myself listening to Rossz again having put it down for three years after buying it and suddenly it just fell into place. I have a couple of other Venetian Snares CDs that haven't quite clicked yet ( Meathole mentioned above, Huge Chrome Cylinder Box Unfolding, which is too inorganic and cold, and Horse & Goat, which is just too weird). I only came to appreciate I Care Because You Do (mentioned in my last post) after I had listened to Richard D.
This happens occasionally, that I will pick something up and listen to it a few times, but only really start to enjoy it weeks, months, maybe years later when the time is right. This album wasn't an instant favourite for me. It's not like Winnipeg Is A Frozen Shithole, which is a witty parody of itself, or Meathole, which, at least for now, feels to me a bit contrived and artificial in its anger. And the music is almost always taught, strained, frustrated, despondent. Others include Szerencsétlen ("unlucky"), Szamár Madár ("stupid bird"), and Hiszékeny ("gullible"). The first track is Sikertelenség, "failure". The title translates roughly to "born under a bad star", an expression referring to being born with bad luck, a curse. However, what has set this apart from what other few works I've heard by Snares is the tone of the album, what feels like an overarching theme.įor me, this is an album about depression and anxiety. This album definitely delivers on those fronts, but employs alot of samples of classical music (including several from pieces by Béla Bartók, a Hungarian composer), which for all I know might have been partially played by Funk himself. Canadian artist Aaron Funk is known stereotypically for his harsh use of breakbeats and samples and mostly 7/4 time in his music.
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