[The band] is comprised of X, who makes his own clothes and only writes in calligraphy, Y who used to play in an algebra themed noise band in Olympia, and Z who tunes pianos and is a valet car parker.
[Artist] is makes pop music. Dude is pop af. [Ed. note: I’m as lost as you are…]
This music should be approached as one of three wings of a rotating vortex of music, thought, and drama called The Perichoresis. Taking up the legacy of American Transcendentalism and German Romanticism with all its contradictory attraction and repulsion to/from underground music culture, the project has a horizon that is ethical, political, and eschatological. [Artist] in part functions to ground Transcendental Qabala (a system of thought) and is also in part the manifestation of Aesthetics (an art practice). These three wings of the Perischoresis propel the ongoing drama of The Ark Work, which is a messianic intervention into global destiny.
[The album] refers to both the fragility of life and the complete and utter randomness that we, as humans, even exist on this planet in the first place. It exposes the naked realities confronting us all: “here is me, and there is you, so now what?
[The lead singer] refuses to take part in the promotion of the band, never reveals the lyrics, which are often an impenetrable jumble in the mix, and expresses little satisfaction with any of the music he’s recorded. [Ed. note: And we’re supposed to find satisfaction in the music?]
Throughout all their travels, building relationships with those they encounter has been at the forefront, resulting in a large network of friends they hold dear.
They will appear to be a ragtag set of traveling performers, accustomed to closing out barn dances and just as likely to steal your prize-winning cow as to wake up next to your sister in a hayloft.
The album takes listeners on a stimulating psychedelic journey through the cosmos. For release week, the planets have literally aligned. Mars, and its potato shaped moon Phobos, will be closer to Earth than they have been in 11 years.
[The band] introduces us to their humor and youthful vigor as they unearth the altered history of the Passed Lives’ Excessive Futures Foundation – a time before Heaven’s Gate took the f-u-n out of community function and ruined salvation for a generation. [Ed. note: Man, I really wish I could show the band photo here, too—or even in lieu of the press release. In the name of anonymity, however, I withhold such identifying information…]
It’s got plugs, buttons, and illusions, and a grocery store whose aisles correspond to Dante’s infernal circles, plus a nebulous sense of ephemeral weirdness. | Laura Hamlett