Boundless Energy / Change Of State / Midas
14 May 2012
|Change Of State||Soundprank|
Fisher was one of the strange people who was instantly identifiable, without any connecting threads between his songs. It must be the general atmosphere of gloom & vacuumness. His sendoff was a troika of saintliness, but not even hagiographers can describe this. 2:18 is the beginning of the end, as he was just months away from his remix of The Great Divide & his odd transition to AB, following a remix with a single song for Vol 10. But here, CF showed why nobody goes from AB to AD; which is a pity, since many should go from AB, to the bin.
But not Boundless Energy. This mostly static tune could have been a disaster, but he stuck with it & stuck the landing, first step, & flag erection. 4:26 cut off the air supply & left us to wander into a windless desert to drop into & suffocate, but no delerium from asphyxiation can match the valhallucination & pain wrought in this limitless verve. Our two minutes of inexhaustible zeal are more than enough to boil the Moon from here. AD 04 is better off with thanks to this, & so are we.
The other five minutes are pseudo-musical imitations of melody. But we can edit this anyway.
BE is a cruoric example of how repetition & key smoothness are not always bad- they just have to be engineered the right way. Here, Colin kept the modulation at the start, & left the rest to waver slightly, always enchasing the air into daggers.
Change Of State
His style is always in full form. Nothing feels stripped or rushed. BE, for example, has his own piano experiments, & other such Soundprankian antimirth. But COS is richer & grinder, showing how he might do in AB. That seamless transition (you'd never know of his AD past) also showed his ensorcelling willingness to abandon a tune to pursue a roughly related climax. 3:09 is the first light touch of a piano, but it strips the ground harder than the preceding ribbonbass, because this minute of paperclip-heavy strokes weigh less than continents, but more than boxes. Continence (moderation) & its facade fall at 4:24, revealing a pulverising climax that has one use: to instil hopelessness. It almost succeeds. The change is from solid to liquid, not any further. Whereas BE had acceptable repetition, this is a water bottle in the morning. The hint of effectiveness is there, but it has no hope of being wanted.
His goodbye is topped off by the bottom: this is not gold, this is not golden, this has no touch, or feeling, or sense. Midas is one of Fisher's intros/outros stretched out to a whole chyliferous seven minutes. The tunes didn't take up much time before, but here, it's been eliminated. Any autolatry should always be recognised for the pollution that it is. This autoimmune song will never be heard again.