1/1/2024 0 Comments Within temptation utopia albumGrian: Well, the temptation is to say yes, and I think that will inevitably exist: a natural thread, just by virtue of the fact that it’s a debut solo effort, coming from one person, distilled through one brain. I wonder if there was an emotional narrative you were trying to construct in the organization of the songs. Megan: That theatricality sort of speaks to an indulgence in emotions, and there doesn’t seem to be any one feeling you lean into across the record. Writing about them allows me to understand them and feel them.” I’m a little bit beguiled by them, and shut off. “I think that often, events in my life are just kind of things that are going on around me. There’s a kind of musical theater element to it that I really enjoy, even though I’m not a classical musical theater fan. There are all these notes in between-microtonal notes-and a lot of my favorite artists play on them. Grian: I think that was really just inspired by the fact that I’m a very limited singer. Megan: Does that serve a role in your vocal delivery-maybe the sort of hybrid talk-singing is an effort to find that space between song and poem? I’m kind of just writing all the time, and deciding afterward if it’s poetry, or if it’s music. Where they go after that is not as important to me. I don’t really consider the application of the words that I’m writing-other than the fact that it serves as a function to myself, and to my own experience of life. But inwardly, I like to keep the differences as blurred as possible. Grian Chatten: I think, outwardly, the differences are just the musical elements. I wonder, for you, where the differences between the two lie, and where you find overlap between them? Megan Hullander: It seems that songwriting can be poetry, but not every song is necessarily a poem in its own right. On the whole, it’s evidence of his uncertainty, an attempt to make meaning of the indefinable in-betweens.Īhead of the June 30 release of the record, Chatten joins Document to dissect the album’s anatomy and offer an analysis of the mercurial emotions that made it. The song is an illustration of unease, and choosing to end on it blackens Chatten’s ink of intention: Chaos For The Fly isn’t any sort of definitive statement-it asks more questions than it answers. The record’s final track, “Season For Pain,” maybe best embodies that tempestuousness: moving from delicate and watery guitars to strange, gray intervals taking on both full-bodied singing in earnest and fuzzy recordings of spoken word oscillating between the explicit and the metaphoric, between low and sweet notes rendering those themes of back-and-forth explicit in its lyrics (“The shore was good while it ran my friend / ’Til it was running away / That was the season for loving / This is the season for pain”). Each track is an act of indulgence, immortalizing the perceived permanence of a passing moment. Its songs are underpinned by disparate states of being, which is really the point of it all: They’re connected by their confusion-emblematic of psychological peaks that feel never-ending, before they drop into equally pseudo-inescapable emotional ravines. Written (in part) in the immediate aftermath of Fontaines D.C.’s Skinty Fia, the debut solo effort sees the Dublin-born artist in flux. Chaos For The Fly is a picture of irresolution. Grian Chatten hasn’t said so, but his album’s title and emotionally-tumultuous lyrics imply that the fly is an apt stand-in for his current state of being. The road to something new is usually more akin to repeatedly smacking into a pane of glass before finding a window than it is to the soft, well-nurtured unfolding of a flower in bloom. It can require the fly’s ugly persistence, its circuitous path, its violent efforts. The fly is less romantic than its symbolic sisters-the butterfly, the phoenix, the leaves, the flowers, and so on-but change is habitually unromantic. But it also represents transformation and metamorphosis and change (whereby death and decay are instrumental stones for stepping). The fly is most often understood as an emblem of death, of decay. Ahead of the release his latest album, Grian Chatten joins Document to dissect its anatomy and offer an analysis of the mercurial emotions that made it
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