The speaker reflects on their intense, subjective emotional experiences, where mood shifts feel life-or-death. Music becomes a crucial outlet for processing self-absorption, emotional pain, and existential struggle, functioning as a devotional and cathartic force. Their early music, though deeply personal, was self-serious and lacking physical or human authenticity, leading to discomfort upon reflection. In contrast, recent work embraces everyday, grounded language and emotional realism as a reaction to that earlier rigidity. This shift mirrors a broader journey from intellectual detachment to emotional honesty. The speaker believes true emotional expression must be raw and visceral—like a wound—relying on intensity and even "violence" to convey authenticity. Drawing parallels to religious imagery, they argue for a violent, macabre emotional honesty, akin to Christ on the cross, rather than a redeemed or peaceful narrative. This approach, though unsettling for others, represents a form of personal truth and artistic integrity. Ultimately, music serves not as entertainment but as a vital tool for confronting and expressing the raw, often painful realities of human existence.
Um, yeah, I mean, I, I, I can't, I almost can't help myself in terms of that aspect.
Like even this conversation, I'm like, God, like just shut up, like just stop saying just
say less.
Like, you know, I'm just like, I'm sort of this, but it's just how it's just what it is.
It's like I can't, um, I can't, there is this, this is real element of, of the way that
I am and I'm assuming the way other people are, but it seems to me, maybe I'm particularly
like this, is that there really is no, I can't really comment on any other, any other person,
like, uh, experience of the world or, or, or world view as much as I, I do, um, I, but,
but I, I have no right to because it's my like subjective experience of the world is like
all that I know, and it's extremely, um, like, it's so pressing on me that, that is, like,
like a bad mood is like the end of the world, um, you know, a good mood is, is everything
is going to be okay.
And I, you know, again, that might be the same for everybody else, but I don't know.
Point is that like, with the music back then and, and now it's, it is something that has
been like, uh, hugely cathartic.
And so, and, and it's a way to deal with this like, um, self obsession and like, naval
gazing thing that I have, and I think that we're all probably all driven by like, um,
out like base ones and desires, but music feels like slightly more elevated than,
than the content of what I'm seeing about, which is struggles and sort of like desires and, um,
and, and like a bad mood and like sort of bad, um, I don't want to say trauma because I sort
of, I, I think it's like, that's a loaded term that I think is just, uh, useless at this point,
but yeah, like, like what, what human life does to people, um, music is a way to sort of like
redeem that in, in some small sense, but music is like devotional in the way that, um, religion is,
and as someone that is very single-minded, I guess it would make sense that the exact point
at which I started, music again, is the exact point that I stopped practicing religion.
Um, but, but I guess I wrote this record like, so when I first got back to music again,
I like, I hadn't touched the guitar for years, picked it up and at like all of this stuff,
I came like sort of spewed all of this stuff out, um, and I listened back to the record,
it's unreleased currently, but I listened back and it's like, it's like really,
it sounds so claustrophobic, it sounds so, um, in like sort of like intellectually,
or like sort of like, uh, there's nothing bodily about it, there's nothing physical or human about it,
and from, from what I can hear in the writing and stuff, it's sort of meandering and it's like
self-serious and it's like, it's self-moric and it's a way that I was trying so hard to avoid.
But like, it was this, um, so I don't particularly don't really like it at the moment, but, um,
but so in this time of total isolation and everything where I wrote this record,
um, that's sort of what came out, and then I've written something else recently and been recording it
that, um, isn't so self-serious, it's sort of like a reaction to that mood, um, but,
but equally, like, they're both, like, I just, it sort of like, um, like middle of the road, like,
the way, like sort of like banal way of speaking that people,
you know, how people speak in day-to-day life, um, I like to be stimulated, I like to be like, um,
exhilarated, and so if I'm gonna write music, if I'm gonna make art, it sort of surrounds like,
fairly like, purion to like, maybe not period now, but like, at least like, um, like, extreme,
there's like an extremity to it, even if the subject matter is religion. I'm interested in
religion in a sort of like, violent way or in a way that's like, you know, Christ on the cross,
rather than like, sort of redeemed Christ. Um, like, there has to be some violence and like,
macabreness to it that, um, that I guess, yeah, not everybody relates to it or understands,
but, but that's what honesty is, if we're talking in like an emotional sense, I've just even just
talking about how I feel, it has to be like, expressed in such a way that it's like, you know,
you need to feel it like, like, like, like, you know, sort of like a cut, um, or something,
because that's what it feels like. And so maybe that's, that's a way to
Podcast Summary
Key Points:
The speaker describes a deep, subjective emotional experience where mood shifts feel extreme, with bad moods seeming like the end of the world and good ones like a return to normalcy.
Music serves as a cathartic and devotional outlet, helping to process self-absorption and the emotional weight of human existence.
The speaker contrasts their early, self-serious music with newer, more grounded compositions that reflect a shift toward everyday, human-like expression.
The return to music coincided with the abandonment of religious practice, highlighting a personal shift toward emotional authenticity through art.
The speaker values honesty in emotional expression, advocating for raw, "violent" or "macabre" imagery rather than sanitized or comforting depictions.
They perceive music as a form of emotional truth, requiring intensity—like a physical wound—to convey genuine feeling.
Despite initial discomfort with the first record, the evolution of their work reflects a conscious effort to move beyond intellectualism toward bodily and emotional realism.
Self-reflection and artistic creation are deeply tied to personal struggles, with music functioning as both a mirror and a release.
Summary:
The speaker reflects on their intense, subjective emotional experiences, where mood shifts feel life-or-death. Music becomes a crucial outlet for processing self-absorption, emotional pain, and existential struggle, functioning as a devotional and cathartic force. Their early music, though deeply personal, was self-serious and lacking physical or human authenticity, leading to discomfort upon reflection.
In contrast, recent work embraces everyday, grounded language and emotional realism as a reaction to that earlier rigidity. This shift mirrors a broader journey from intellectual detachment to emotional honesty. The speaker believes true emotional expression must be raw and visceral—like a wound—relying on intensity and even "violence" to convey authenticity.
Drawing parallels to religious imagery, they argue for a violent, macabre emotional honesty, akin to Christ on the cross, rather than a redeemed or peaceful narrative. This approach, though unsettling for others, represents a form of personal truth and artistic integrity. Ultimately, music serves not as entertainment but as a vital tool for confronting and expressing the raw, often painful realities of human existence.
FAQs
Music serves as a cathartic outlet for their deep emotional experiences and self-obsession, helping them process intense internal states like bad moods or existential concerns.
They compare music to religion, saying it provides a spiritual, emotional refuge that helps redeem the struggles and pain of human life in a deeply personal way.
The early record sounds claustrophobic, overly self-serious, intellectually dense, and lacks physical or bodily emotion, reflecting a struggle to express raw honesty.
Their newer music is less self-serious and more aligned with everyday, banal speech, representing a shift toward emotional accessibility and relatability.
They see emotional honesty as requiring intensity—like a wound or cut—so that the listener feels the raw, unfiltered truth of their experience.
They avoid using the term 'trauma' as overly loaded or ineffective, instead describing human struggles as more like persistent emotional pain or suffering.
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