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Elegia

by God loves ketamine

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1.
Fine red mist 07:29
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2.
Strata 00:15
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3.
Gaze upon starless sky 27:10
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4.
Separation 16:39
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5.
Alone 08:35
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6.
The dead giant 13:18
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7.
Cities of crying winds 17:30
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8.
Never atoned for sins 27:23
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9.
Approaching 04:59
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10.
Houses of homes 07:43
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11.
The sea's foam 05:38
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12.
Cleanliness; godliness 15:31
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13.
Peace of mind and body 03:54
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14.
Terror 16:05
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15.
Figures over man 21:40
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16.
Early mornings in salt marshes 05:33
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17.
Sight 42:21
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18.
Shame 04:24
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19.
Guilt 05:06
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20.
The gallows 15:31
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21.
A light has left your once beautiful eyes. 06:34
info
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22.
Never below 05:44
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23.
Prison 05:52
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24.
Eden 08:19
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25.
Towers of great beyond 08:56
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26.
Together 11:27
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27.
A forrest blanketed in snow 24:39
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28.
This world is being swallowed 30:02
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about

EDIT 2021-12-18

So, it's been about eight months since this album released, and I can't say I'm in particular proud of it. There's some decent music here—in fact some of my personal favorite ambient tracks—but this album is, in so many ways, rushed, and rather hobbled together. So, everything on this album is free.

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This entire album is based off my interpretation of the images presented as the cover of each song. They are from an account on twitter called @elgagiac_ai—each image is generated by a STYLEGAN2 neural network trained on images from elegiac_images.

What I found so interesting from these images is their combination of two, important, distinct themes present in contemporary art: the liminal, or elegiac space, an area that is, in some way, vaguely familiar to a viewer, but is somehow removed from its known context; and the use of artificial intelligence, which is more and more being used to create strange, alien works of art based off of what other artists have produced. This combination produces images which are, in so many ways, beyond surrealism—images can be beyond recognizable, with all objects being foreign, abstracted, and thus must be left to a viewer to interpret, not only in meaning, but in composition as well. This leads to, in my opinion, a much greater sense of atmosphere—nothing is truly established in concrete, and thus, is much more fluid, which allows a viewer's thoughts to run free with stories of anything they see fit.

Given this freedom to explore visual art, this album is basically a bulk package of musical experimentation. Because of the disjointed nature of these images, I feel as though I do not need to make a truly "cohesive" album—I am instead afforded the liberty to make what I see fit, irrespective of the burdening context of the other songs.

In its premise—exploring visual art—this album really isn't unique. Pictures at an Exhibition, Mussorgsky's most popular suite, had a very similar aim to this album—interpret pieces of visual art, then transform them into music. Though, of course, that's where the similarities end; this isn't classical music, nor will it likely ever be as impactful as Pictures at an Exhibition.

credits

released April 3, 2021

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