Page 581

[Alexandr Korol]

on this distinction and made the statement that this music could be divided into daytime and evening. That’s how I put it. I said that when I wake up, I won’t listen to Thom Yorke or UNKLE; instead, I’ll listen to Angus & Julia Stone, Yann Tiersen, or Jóhann Jóhannsson – melodies that are deep but feel more suited for the day, for starting the morning. At the same time, they are not materialistic – I used to consider them spiritual. If we put it roughly, without nitpicking about words, that’s how I defined it. And I also wrote that when you’re at home in the evening, lighting a candle or sitting with a journal, it’s great to put on UNKLE, Thom Yorke, Massive Attack, Portishead – something like that. It also feels spiritual, but in a different way – something for the evening. You wouldn’t start your morning with that.
And it turns out that I wasn’t dividing all this for nothing – it really is different worlds. And after all, this Spirit of Death is exactly what I used to call the “nameless frequency,” the languid, “mindless,” “corridor,” something otherworldly. And you know what scared me the most? Every time when I was younger, I would look at song translations and ignore the themes of love and death that were often present. I only paid attention to the “cries” of victory, the kind of proclamations like “God, take me,” or “someone up there will hear me,” or “I’m so tired of being on Earth” – something along those lines. That would steal my attention, but I never focused on the word death – I always ignored it. And now, I’m going through the translations of almost every song, and it’s all about death. Naturally, I’m in shock. And what about movies? One of the key films, “Donnie Darko” – about death. “Big Fish” – about death. “Knockin’ on Heaven’s Door” – about death. “The Invisible (2007)” – about death. “Meet Joe Black” – obviously. “City of Angels” – about death and angels. Well, spirits – that’s already something else, that’s death. And the way I always described this frequency, this world – I liked it the most. I always called it my stationary world, as if it was my center point. To escape from the influence of people, from the influence of society, I would always retreat into this “zero”. I always called it “zero”. I would play this kind of music, watch these kinds of movies, for example, “Eternal Sunshine of the Spotless Mind”, “Angel-A”, “Deception”. And in all of them, the music is languid, otherworldly. And that’s why even these music groups – they seem unique. I consider Thom Yorke, UNKLE, and Massive Attack to be the best music, number one. But why aren’t they accepted, recognized by society?