The place: a crowded agora; a pastiche of ancient civilizations.
S / H / O / T / M / A / N’s MIDI-classical ethos is a more sincere, spartan take on James Ferraro’s Wyndham Hill-inspired arrangements, eschewing massive digital orchestration for a single flute and what might either be a guitar or a harpsichord. “/ h i m s e l f / c a r r y i n g / a / h e l p l e s s / t h i n g /” is as despondent as its title suggests, drooping its melody—gloomy, with a touch of Goetic evil—across a dissonant lattice of plucked strings. It’s a spiny, shadowy demon that drags its knuckles against the dirt road, avoiding eye contact with vendors hawking cryptocurrency and virtual loot crates filled with emoticons and animated screensavers.
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