Boomkat Product Review:
Compiling the last 3 albums in the 'Everywhere At The End Of Time' series - 6 x LP’s and almost 5 hours of material cataloguing the ultimate descent into dementia and oblivion, using a patented prism of sound to connote a final, irreversible transition into the haunted ballroom of the mind that he first stepped into with 1999’s ‘Selected Memories From the Haunted Ballroom’.
Invoking Jack Nicolson’s caretaker character in Stanley Kubrick/Stephen King’s ‘The Shining’ as metaphor for issues revolving around mental health and a growing dissociation/dissatisfaction with the world, the project really took on new dimensions in 2005 with the 72-track, 6CD boxset ‘Theoretically Pure Anterograde Amnesia’, which was accompanied by an insightful unpacking of its ideas by cultural critic Mark Fisher aka K-Punk; a stalwart of the project who identified it (alongside music from Burial and Broadcast) among the most vital, emergent works of Hauntological art - a form of music often preoccupied with ideas about memory and nostalgia (but one distinct from pastiche), and the way that they possibly overwhelm, occlude, or even define our sense of being; ideas that resonate with Fisher’s own assertion that capitalism essentially undermines collective thought, distorts the individual, and has tragically lead to a worldwide increase or even ubiquity of mental health-related issues.
By using fusty samples from an obsolete analog format, and by doing so in the 2nd decade of the 2nd millennium, The Caretaker perfectly and perversely bent ideas of anticipation/expectation with his arrangements, playing with notions of convention and repetition with effect that would lead some listeners to wonder if the same record was being released over and again. When combined with Ivan Seal’s bespoke painting for each release from 2011’s ‘An Empty Bliss Beyond This World’ onwards, the project crystallised as a real gesamtkunstwerk for these times, and one arguably defined by a stubborn and intractably chronic drive against the grain of modern popular culture, or even a refusal of it.
And so to the project’s final goodbye. Drifting from the silty departure of ‘Confusion so thick you forget forgetting’, thru the smudged anaesthetisation of ‘A brutal bliss beyond this empty defeat’, and the abyssal, distant echoes of ‘Long decline is over’, to the increased pauses that punctuate the final side’s piece, ‘Place in the World fades away’, it eventually leads to a final coda that breaks the fourth wall. Here, with the outside world muted and only the timbral residue remaining like smoke, everything moves as slow as a Lynchian dream sequence - until a conclusion so ineffably sublime occurs that we can’t mention it for fear of waking up.
At this point it’s also perhaps worth pointing out the uncannily profound synchronicity between the timelines of ‘Everywhere At The End of Time’ and Brexit, which both started in 2016 and are due to wrap up in spring 2019. It should be no stretch of the imagination to read into their parallel progression from nostalgia and historic/collective amnesia, to progressive dementia and complete obliteration of (the) sense(s).