The introduction and embrace of imperfections in the recording mirrors the chaos in our midst, the ever-present unknown. And this represents cumulatively less kitsch than if it were refined or faithfully and tediously extracted.
This inclusion or allowance of these attributes is a means of conveying that discordance (via distortion, in echo, etc, however reverberating), it approximates these symbolic and the metaphorical misgivings. It is the appropriate representation of factoring in uncertainty into your model, of both your collected perceptions and their conveying through representation in auditory art. And with this admission present upfront —the prospect of erring around the margins, the looming suspicions, the muck and mire— the intention of the work becomes more honest and true, its testaments more convincing.
“Bloody” is a marginally mangled lo-fi clinic on how melody can successfully conspire with tempo under these carefully crafted circumstances. The oscillations swing between movements, flagging and then forceful, hesitant and emboldened. The doubt grounds the professing in a world that resembles our own.
It stands in contrast to corporate refinement. That which has the power and engine to polish style down to bone and yet with all its menacing, perfected honing comes away saying nothing at all. Maybe, largely, because if it had anything of value to add it would promptly undermine the unjust hierarchies that lead to its ascendance?
I don’t know. I like this song, I think it’s fun and has good style. Now people can easily approximate either interpretation in their bedroom — the bile and barrage of the single mic garage or recordings from a pristine sound-proofed void— for now wrapped in the symbols of the past, sand always shifting beneath us. These things won’t mean the same thing to people later. But it is made by people from relatively now and for people from relatively now and in my present subjective opinion it is very good.