Final’s It Comes To Us All seems to explore sound and form as though it was ending. Its sounds spread across an expanse and often come off as though keeping a tenuous grasp whilst in a constant state of decay.
It Comes To Us All carries a sense of vague clarity. Occasionally bits and pieces come through the sounds with a sense of distance, but also a sense of familiarity. They’re recognisable as something you know, but it’s not necessarily clear what they are. It’s much like a sensation of memories memories changing, fading and disappearing into nothingness over time. It’s also like seeing places you know significantly changed and trying to reconcile the resultant conflict.
Sadness and perhaps mourning comes through, though not always. Some pieces seem to take on a more “neutral” stance, though perhaps they are more subtle. Often, however, emotion is more obvious than not. That said, there’s no overstating and so the expressiveness doesn’t come off as either cheap or unwarranted. It’s the right amount and it comes through without force; it feels natural and effective.
It Comes To Us All seems like it shares a space with EXPECT NOTHING AND THE KINGDOM SHALL BE YOURS. It could be a companion; it could be a continuation. That said, it is it’s own thing. It’s more active and immediate, and a more textured work. The songs here are comparatively brief and less willing to engage in quiet, but they don’t become pointlessly loud and overbearing.
With It Comes To Us All it seems like Justin Broadrick had an interest in cycles, or at least taking something and seeing what happens when it smears over time. Regardless of it being the case or not, throughout there are parts that seem to grow in warmth, low rumbling, or heaviness the longer they run. There also seems a sense of calm and comfort that comes through in places. It’s kind of a mixed bag, but it’s also unified and makes sense. It’s an exploratory album but it doesn’t meander; there’s no need.
It Comes To Us All is available here.