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The Interrupter (pt. 1)

by Spirits in the Pillar

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‘The Interrupter’ is what arrives after being too late-born to access that UNCLEAN outside – to get belly-tickled to a pulp by Totale’s gnarled tentacles, to have the clank and whirr of the Gothic factory reconfigure the nervous system into a state of trenchant restlessness, to have futuroid ears caressed by infra-human vocal shudders and 303 burbles in a field near the M25 – but be left sucking somnolently on Britpap, MOR revival of a revival. Now pop abides only on a fossilised energic disposition, the privileged coddled by capital’s bluff-warm blanket of nominal dreams and aromatherapy diffuser lamp speakers. The door seal of the perceptual autoclave has degraded, failing to neutralise cultural agents whose surface sterility belies pathogenic properties. Lay down that chorus boys – a corny joke about the need to inculcate softer frequencies? Just don’t call it hopepunk.

It’s what ensues when Benjamin’s destructive character appears to huff air out of a childhood Video8 cassette, rescuing with a white-knuckle grasp the regressive sluggard from its occupying of derelict pleasure-grounds – shot through with sentimentalist slurry – over alliance with a proletarian libidinal economy counterpoised to becoming undead (again).

This song is only the wish for a song with nihilative potentiality to prevail over burnout – panto Jarry letting off steam on the alt-retreadmill, schizophonically pulled between abrasiveness and melody, canter and gallop, gen-x get-it-off dread and y me-meme-me ‘depressive hedonia.’

‘The Interrupter’ is what’s left after a petulant para-academic and paragon of accidie moseyed to the open-three-mornings-a-week library in their scuzzy hometown precinct – always the pits! – and wound up spending an hour cursing the paywall for _Trends in Parasitology_. Nighttime involved rooting about for conceptual engineers with the interruptive capacity to kill the schematic strife-excitations channelled through the mediascape, without writing off a productive parasitism that drives more complex forms of variation, all while pondering a not obviously related question: Did Twin Peaks return to end with a scream or (silent) whisper?

lyrics

https://www.surfaces.cx/the-interruptor-iain-rowley

credits

released July 22, 2020
Ol Andrews
Tom Dane
Alistair Lax
Ed Lyon
Iain Rowley

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Spirits in the Pillar UK

EP-to-come on AnalogueTrash, Oct 2022: Scaled-down Expectations.

Ol
Tom
Alistair
Ed
Iain

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