When words trail off at the beginning of Claire Rousay's Everything Perfect Is Already Here, ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as you trace Rousay's collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. Everything Perfect... is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form.
When words trail off at the beginning of Claire Rousay's Everything Perfect Is Already Here, ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as you trace Rousay's collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. Everything Perfect... is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form.