A52 SUMMIT by Polyscia

A melody is plucking, much akin to a banjo by the side of a country road, wistful ideals and a deep yearning intricately weaved into it's melodies. As everything is slowing down, giving off the feeling your life is at a stop -- yet so soon? It makes you sick, fraught with worry. But you don't give up.
No, you give it to them. You push through, denying the doubters, ripping their snide satisfaction from their throats. And as you do so, the world speeds up again, the world is whole, conflict upon conflict, but they are no longer yours to bear. This is your moment. You walk in, and with a surge of confidence, you make it happen. It's finally real, it's finally happening, and it's all by your hand, and by gum did you fight tooth and red-painted nails. And as you walk back out, a feeling of brief fear and movement towards moodiness, you make it through the weight of what feels like a thousand glares -- and it's been done. Just like that. Your mind is doing it's backflips out of joy... and you wonder why you took so long. When you get into the A52, it begins to feel like you don't wonder...

Olivia Clarke (POLYSCIA) and her new digs. What can we expect from this new piece? Mesmerizing melodies, laden with love, memory, and faith? Tranquility? Yes, of course. But also what brings us to the latest adventure: absolutely nutter-butter noise, spastic and honest breaks, almost entirely (but not quite!) frazzled with computer error, fuzzed out with high maths, layered on -- straight-forward and real -- atop gabber kicks, crunchy and withered perc spread throughout, arranged while on a healthy dose of rhythmic uniquities and clarity. Like a marvelous murder-trifle with some delicious whipped cream, "A52 SUMMIT" delivers the fruit, but the kind you have when you come of age in uni: someone spikes the punch, you hit glass with baseball bats, raving and throwing around shit like animals, meanwhile it's all being scored by meaning.... undertones of original emotion.

Every track is like another part of a great, long story. A 10-book epic, if you will, of a release.

In Track 2, "WE SETTLE ~ LEVEL AND SMOOTHING OUT" you need not tell yourself anything, as a barrage of instant mashed breakcore moves around, breaking loose the crust in your sinuses... while chip-synths wave your ears out the driveway of your nan's cottage out in Wigglesbury-on-Greater-Brapfardt. (The author of this does NOT know English geography, and refuses to learn. Deal with it.) And as your day of love and violently spontaneous hugging ends, the old Ford Wisteria peels out the cobblestone-lined driveway and sails towards reality, snapping you back to the dreary landscape of public transport.

Every moment on this album means a great deal. In Track 3, it is said that the Maestra herself (Olivia Clarke, POLYSCIA) had been running through a dream-scape in one of the several time-space paradox dimensions she regularly comes across, out in her bodge-laden homestead around Cornwarble. Coming across moments in time that she had yet to move past, indecision and doubt seemed to ooze from these wretched holes in her self-confidence... Looking directly at them as they insist on pestering her, the glint in her eye seems to almost fade before...

BEXTEST appears. Carrying the grand weapon of ancient times of yore, BEXTEST (cos hes a fucking legend) dashes over and hands POLYSCIA this grandiose and multifaceted weapon of SELF-LOVE, the mythical CHENIS. For just a moment, time stops -- could this be the power of the CHENIS? -- and POLYSCIA nods at BEXTEST, much bro-oriented respect flowing from each's glance. And thus POLYSCIA springs into action...

INTERNAL SKIRMISH. A battle theme of acceptance. The varying shapes of the CHENIS have many uses, and the one at use here is the art of looking at yourself -- making sure you stay on focus. The rips in the dimensional space-time fabric of the A52 grow, and little strange amoebic creatures... perhaps to be titled The Doubt-things, come closer. The CHENIS absorbs them, chews them up like shredded lettuce to a rabbit, swallowed smooth like some REAL quality sour cream. And this is how POLYSCIA fights. Lettuce. Everything seems to have a good tide flowing, the fight it going well, when a bell is heard... you try to continue... BUT SUDDENLY...

WE AREN'T! kicks in. The most terrifying thing happens: bile-mannered antagonist JOHN A. SCIPLIONY appears from the front of the bus, in all his metamorphic glory, and with him, the endless tide of negativity that plagued POLYSCIA for years. Unhappy to see his burbling, bubbling, grotesque and constantly sweating physical representation, POLYSCIA increasingly feels anger, dismay, and as a result the flow of time ALMOST slows twice as JOHN A. SCIPLIONY insults various people around the bus. POLYSCIA takes this opportunity to try and push JOHN A. SCIPLIONA into the dirty ground in front of the bus by the power of the CHENIS, and in a brief moment of POWER and GLORY, Olivia Clarke (POLYSCIA) has the full belief she's won...

and as the page turns, it is apparent she has not. As HORMONAL MISCHIEF kicks in, a beatdown ensues, with insults being thrown so far around everywhere surrounding POLYSCIA, and it envelops her, every single motivation being restricted by the "Power" of other's words. It feels all is lost as maddening rhythms stutter, like a free-flowing machine, stomping the rights of the many, throwing things around like Doctor Octopus with his big mecha-tentacles. The CHENIS is lost, the most significant feeling of CONTROL with it.... And as hopeless as POLYSCIA feels... TIME STILL STOPS. Arrogance, frustration, and denial all cease, for JUST one moment, as JOHN A. SCIPLIONY begins to lose his OUTER SHIELDING.

Like a RAZOR, sharp breaks outpour from POLYSCIA's personnage, from every inch of her body and mind and soul, shattering the prison she had found herself in. The A52 is almost at the end of it's route, nearly time to get off, but for now time is stopped: and she takes a moment to breathe, breaking through the thoughts of JOHN A. SCIPLIONY. This razor sensibility, the GREAT CATACLYSM OF LOVE AND HATE, it breaks down this frightening devil antagonist... breaking off the EXAGERRATED JAW, the BALD CAP, the EDGY OFFICE CLOTHING, the DIRTIED SHADES, the FAKE BEARD, and in a brief moment the world gasps. The realization occurs, both ASH is the CHOSEN ONE -- the one to RESTORE things the WAY they should be, and JOHN A. SCIPLIONY is really just a shitty anagram of POLYSCIA the author made up to try to create a point. And that point, hammered home by the increasing WONDERMENT and JOY of the BATTLING MELODIES on RAZOR pt II, is the ultimate truth, the final revolution...

YOUR LOVE AND HATE IS ONE, A PASSION OF A TWO SIDED COIN. EVERY MOMENT YOU LOVE, COULD BE SPENT HATING... EVERY MOMENT YOU HATE, COULD BE SPENT LOVING. AND WHEN IT FEELS YOU SPLIT, WHEN YOU FEEL AT A LOSS FOR EVERYTHING AS CONTROL TAKES A HOLIDAY, GONE FISHING IN DETROIT..... WHEN LIFE IS SEEMINGLY UPTURNED TOPSY-TURVY AT EVERY MOMENT, EVERYTHING FLYING OUT OF YOUR HANDS...

YOU CAN REGAIN WITH THE RIGHT MOVEMENTS.

As our two 'tagonists meet eyes, both with mouth agape, eyes widened... fear? surprise? understanding? It's your choice... they walk into each other slowly, trying to press their palms agains the others' and seemingly melting... morphing within each other, as percussionists waltz around them, and they FINALLY MELT, with a GREAT and STRANGE WHIRR, a RUMBLE, a QUAKE, a BLITZ -- and everything is whole again. The flow of time returns as the A52 rounds a corner, and POLYSCIA, seemingly REBORN, signals to get off at her stop. Walking towards her great, big bodged home, she looks back with a final understanding of what it means to be human, the flow of time, the corruption and cleansing of souls, the movement of thoughts, and smiles goofily as TRASH CANS are played by GLITCHED PERCUSSIONISTS on the walking route, a low rumble of forgiveness coursing through the earth she walks on... opens the door to the house and contempt with the day, goes up to the topmost-tower and places her socks on, reflecting on everything that's happened on the A52 thus far.

Music for high altitudes

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