![]() ![]() However, there is also the concept that this musical project is focused on. This discovery of the musical project, and the kind of feelings that it invoked in me, served as part of the driving force behind why I decided to write as unique of an article as possible surrounding it. If I wanted to get the full sense of what this project artistically represents, I would have to listen to all of it, or at least one stage at a time. Furthermore, Everywhere At The End Of Time definitely didn’t feel like a project I could simply skim over. Upon my first attempt to delve in to this project however, I realised just how fleshed-out this project truly was, with each of its six stages coming together to make just over six and a half hours of listening time, with each of the stages varying in duration. The amount of reception that it received from people claiming that this project “broke them”, I couldn’t help but feel that Everywhere At The End Of Time reflected my desire to listen to a musical project with the impact of a speeding truck. And much like many people before me, I was absolutely fascinated by the project solely on the surface level. With the six stages of this project being released between 20, Everywhere At The End Of Time is arguably the most prominent piece from UK producer Leyland James Kirby’s musical project The Caretaker. ![]() But for those who were unaware of a project like this until now, be warned that this is not a musical piece for the faint of heart. If you’re already familiar with the six-stage musical project that is The Caretaker’s Everywhere At The End Of Time, then it probably comes as no surprise as to why I am writing an article like this about it. It feels strange to recommend undergoing this experience, albeit in such an impressionistic and detached manner, and yet it feels like a conversely enlightening one for these strange, disingenuous and unpredictable end times that we inhabit right now.Warning: Mentions of Alzheimer’s, Dementia, and memory loss throughout. The tracklist spells this transitional flux in poetic terms, wending from the fading beauty of A Losing Battle Is Raging to the exquisitely tense yet plasmic strings in Glimpses of Hope in Trying Times and the lilting resolution of Surrendering to Despair, before Still Feel As Though I Am Me basks in glowing embers that turn to a Quiet Dusk Coming Early, and the waltzing bliss of Last Moments of Pure Recall leads to the unshakeable pangs of sadness that light up The Way Ahead Feels Lonely like short-circuiting synapses. Loop points wilt away in autumnal greys and russet rustles as new information becomes more difficult to process, making it more preferable for The Caretaker to back pedal down memory lane toward an opaque smudge of half-forgotten/remembered spaces, places and un/familiar faces which provide more comfort and clarity than the world around him. This second stage takes a more wistful tack as our protagonist gradually realises that all is not well and begins to rummage deeper into the recesses of his mind, masking emotions of grief, loss, fear and uncertainty.Īs The Caretaker’s short term memory functions begin to more rapidly erode, the loop-based punctuation of the previous instalment begins to subtly unravel, leading his mind to drift off and ponder upon fuller segments of tea dance strings and horns which appear uncannily more inviting, seductive, and now almost even more tangible than the abbreviated reels of earlier editions. The second of six LPs issued under the title Everywhere At The End of Time, cataloguing The Caretaker’s fictional first person account of life with early onset dementia.
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