Maybe the power of Yankee Hotel Foxtrot comes from just this: its songs are designed to create a world, one less perfect-plastic-lossless-synthetic, one accessible only at night, by a journey inward. It’s a nostalgic album, and a fearful one: about 60% of its 52-minute runtime is touched with feedback, fuzz, static, electronic glitches, or its infamous Conet Project samples (whence comes the title) — and it seems to me the album’s heart dwells in its darkest corners rather than its cleaner, more straightforwardly ‘anthemic’ moments. The brighter, warmer tunes recall the band’s brilliant Summerteeth, while the more heavily laden tracks (the collagelike opening song, the astonishing Poor Places > Reservations, whose interrupting silence is as much a part of the suite as the songs that surround it) look sadly forward to the nightmares of A Ghost Is Born.
I like to think (can’t help it) of albums like YHF as portraits of an imagined world the musicians invoked and inhabited and responded to in making the album, rather than a ‘statement’ of some sort. That kind of hero-narrative doesn’t appeal to me when it comes to musicians; I believe them when they report that deep inside the work, they feel they’re responding to impulses from beyond themselves — though I treat the specifics of those testimonials (the Muse, the Cosmic Consciousness) as pretty fictions only. YHF and atmospheric artworks like it not only depict but create a kind of listening-consciousness, about which you feel however you feel, but which is in a sense complete unto itself: pocket universe, paracosm. And in that place, everything comes to mean everything else. Symbol and referent are jumbled, interwoven, the symbolic layer is the ground of the real and vice versa and permute further and so on. If ‘psychedelia’ is this I don’t mind.
Did the album come on the coffeehouse stereo while I was writing this? Yes of course, and it doesn’t mean anything in itself but it means something in me-here-now, or I mean us-there-whenever. This is there; now is every other ever; I become ‘us,’ and it’s about time isn’t it. The music is the echo-artifact-pretense of the transformation which is the art, or (boring) the art’s purpose. Means to many ends, including pleasure (sure!) but especially joy. And ‘joy’ might just be the somatic component(?) of being-truly-in-the-world. Any world. Even this world of ghosts and remembering and war beneath the bedroom window and a mystery voice on a shortwave radio.