Sound as Art: A Critical Examination of CHRIS PORTKA'S New Album and Its Phenomena
Music, like any other high art created by humans, reflects the inner world of its creator. One cannot separate a work of art from its artist. Many musicians depict their inner worlds in their releases, which helps them cope with spiritual experiences or overcome personal obstacles. However, not every musician openly discusses their pain or bares their soul, delving headlong into their sensations from both the outside and inner worlds. With a sense of trepidation, I would like to introduce you to Chris Portka and his album "trash music." Chris Portka is a unique artist whose psychedelic and at times aggressive music reflects his own inner experiences and conflicts with his sense of self, presenting a view of life without rose-colored glasses. The harsh realities of the world are vividly portrayed before his eyes, and all of his emotions stemming from this understanding, inner pain, and hidden desire to scream at the top of his lungs, are encapsulated in his astonishing ambient release "trash music." The album was released just today, so let's take a deeper dive into the world of Chris Portka.
The album "trash music" is a profound experience that lays bare the soul and thoughts, alters consciousness, and provides true pleasure and freedom. The journey begins with the track "to burn him up, is it too much to bear?," and from the outset, there's no gradual entry or gentle introduction, instead, a psychedelic noise aria bursts into the ears with unyielding force. In an instant, one's consciousness disconnects from the familiar world and transcends to another wave, dominated by a potent, metallic rattle. Is this how our world truly sounds? With the precision of a master, Chris skillfully blends heavy dubstep, overdriven percussion, and a plethora of screeching gears with intertwining human voices. The result is reminiscent of a steampunk reality. It's truly astonishing.
But the album is only just beginning its strange journey. As if tuning into the perfect radio wave, we become immersed in the album and move on to the second track, "wildlife." Chris masterfully transforms genres, pushing the boundaries of country rock to the point of unrecognizability. The voices resemble slogans or intimate thoughts during moments of solitude. It appears to be an exceptionally personal release for Chris, as if he's communicating with the listeners through the language of music. This personal connection continues in the track "the sky is blue in hell." A sigh is followed by the gentlest acoustic sound that fills the mind. It's as if amidst this disquieting world, there still exists a serene sanctuary.
However, the tranquility doesn't linger for long, as in the track "bojeum," we are plunged into a realm of dark ambient with synthetic elements. Subsequently, in "life is the anything else," the anxiety and confusion of the unfolding events reach their pinnacle. Numerous booming elements and a voice that seemingly whispers calls to action induce a hypnotic state. And just when you feel completely immersed in the musical world, the track "dream factory" begins, introducing a revolutionary blend of acoustics, overloaded distorted sounds, and a raw demo-like quality. It's as if our journey takes us through a dark brown steampunk realm, with flickering lamps illuminating our hideout. Yet, even in this world, rays of hope and light shine through the lines of this track. It's simply perfect!
As we reach the halfway mark of our journey, the remarkable track "women are hot" takes center stage. With its fast rhythm and unsettling shifts of keys, coupled with the musician's captivating voice, it creates a sensation of rapidly changing scenes or the progression of life itself. Events rush around the listener, suddenly halting to make way for the following hypnotic tracks "we're in this together" and "your music is trash." Pure artistry flows through the veins of these compositions. The musician's voice delves into what seems to be an industrial and dark environment, deeply riveting the listener's attention. Each sound is perceived by the naked soul personally and unrelentingly, as if a true avalanche of emotions sweeps one deep into the experience of the album "trash music."
The album concludes with two powerful tracks, "disco trash metal reversal" and "hold my hand." These intense and fiery metal compositions seem to be building up towards an equally forceful finale, showcasing all their strength and passion. Their heavy sound entwines the mind and soul, culminating in the last track, "let's go play today," a true psychedelic and pure art masterpiece. Despite its seemingly inconsistent rhythm, the track sounds perfect. The keys provide a steady and calming rhythm, while the guitars maintain a fast-paced wave, and the musician appears to perform the main aria of life. It's incredibly touching, profound, and sensual, delving into the deepest emotions and prompting a fresh perspective on the world of music.
"trash music" is akin to a grand canvas, a symphony of musical mastery, where Chris Portka artfully wields his brush and adds hues of both vivid brilliance and haunting darkness, giving birth to a truly peculiar and dreamlike album. Through the wondrous interplay of psychedelic, aggressive, and experimental tones, Chris embarks on an enchanting expedition, guiding listeners through the labyrinthine depths of his inner world. Each track becomes a brushstroke on this canvas, laying bare raw emotions, intricate musings, and unfiltered expressions. Like a surrealist opus, this musical marvel etches an indelible mark on our minds, ensuring that the resplendent artistry of Chris Portka will linger, resonating with us long after the final note softly dissipates into the ether.