EMI; 2003
Rating: 7.8

Perspective is crucial. If you look at Bodysong as a movie score (it is), you’ll think: “Man, the movie must be really fucked up, like that Pink Floyd movie (it isn’t). If you compare Bodysong to Radiohead’s latest, you’ll find the same experimental lonely tones without guitars, vocals, or structure, which will disappoint some and impress others. If you inspect Bodysong in a vacuum (unwise, and impossible in any case), Bodysong reveals a muttering insomniac tinkering with thousands of unlabeled buttons and dials to see what sounds The Machine makes and recording it all.

If it wasn’t for Amazon’s [SOUNDTRACK] title tag, I’d never have guessed that Bodysong was written for a movie, but that does explain why the melancholy organ of ‘Peartree’ stands aside the Autechrian glitch-glop of ‘Nudnick Headache’. Or rather, it explains the former, along with the simple strings of ‘Iron Swallow’ and ‘Tehellet’. But the standouts are ‘Moon Trills’, ‘Splinter’, ‘Milky Drops From Heaven’, and ‘24 Hour Charleston’.

“Wow, that’s really, really interesting. Really! But, what’s the point?”

“The point is that it’s really, really interesting.”

“Oh. … Ohhhhhh…”