(Andy Synn examines how it all began with the new album from The Anchoret, out next week)
Allow me a few moments, dear reader, to get a little “meta” and write a few words about the act of writing (specifically, the act of writing about music, as opposed to actually writing music).
No matter how good you are, the truth is the written word can only ever give you so much insight into an artist or album, dependent as it is on language’s ability to, at best, only approximate our unique sensory experiences.
Let’s face it, there are only so many synonyms, similes, and similitudes we can use – words that can imply, yet only incompletely capture, what we mean when we refer to something as “heavy” or “progressive”, and so on – before we begin repeating ourselves, saying the exact same thing using only slightly different permutations of the same old clichés.
That’s why comparisons – though I know some readers find them overly reductive – are so important. Because they make it easier for us to share our knowledge and understanding.
After all, we’re all hearing the same things, even if we’re not necessarily hearing them in the same way.
So I hope you’ll forgive me for all the various references I’m about to use to illuminate the brilliant new album by The Anchoret.
