In Ruins by I Cut People

Lifecycles. A laughable offense to some. An excuse for the hopeless romantics to remain hopeless and – romantically involved. It seems rationalism had once been applied to transcend institutions, now it resides, for the most part, in validating institutional facts. These facts become fiction in ruins.

Abandoning a solely matter-of-fact cut-up approach in reciting this epilogue, In Ruins is a mixture of lugubrious songs and restless cut-ups that reside in the spaces between borders where madness and laughter are united once again (madness a mimicry of laughter, laughter a mimicry of madness). This release isn’t/is an outcry due to current events, i.e., 24/7 soft-core entertainment redacted for “the bewildered herd.” It is and it isn’t. It is – because of those unavoidable perception marks. It isn’t – because the events that occur currently are institutionalized and to abstain from affirming these institutions, questioning synthetic systems requires the loss of inhibitions or ego, a method that is foundational to the Dionysian (consciousness unrestrained). When questioning manufactured societal defaults, our responses become noxious or detrimental to the very systems that ambush a purer reality outside the confines of superfluous order. Order requires its own facts to sustain its dominance and existence. These “facts” are required systematic absolutes for maintaining business as usual. The beauty and significance of otium overshadowed by negotium.

How does one condone a certain level of pride in societal rejection without sounding insincere or privileged? Systematic acceptance only generates more advocates by dangling the pseudo rights and freedoms enjoyed by the normalized. This can also be applied to all forms of art and those who strive to become “wage earners of the ideal.” Meaningfulness is commodified, economically valued, organized, and ultimately disposed of its emotional spontaneity along with its ritualistic and revolutionary attributes. That isn’t to say freedom, in the purest sense of the word, shouldn’t be of utmost importance, rather it is meant to question where and under what constraints that freedom is cherished and enjoyed.

In Ruins, the work itself without interpretation from its author, is hardly effective at portraying these concepts. Perhaps it has more context tucked away comfortably in its crevices. Due to the inadvertent nature of the album, it seems merely to be an outcome or ambiguous response to influence and thoughtfulness while actively and freely engaging in the world.


“I’m going to smile, and my smile will sink down into your pupils, and heaven knows what it will become.” – Jean-Paul Sartre


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* Headphones recommended to experience all the subtleties.

Thought-provoking, amusing, nonsensical, challenging, headache-inducing, and enlightening.

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