Gigantism ϑrů Emotional Landscapes

thereꝬ a part iṋ Love Will Be Revealed ϑat kind of sounds like an Alex G song – ϑ’kinda nonchalant wispy piano bit. I AM BLIND AND YOU ARE UGLY!! ITS SO EASY TO WANT YOU!! I WANT YOU I WANT YOU I WANT YOU! ⅋ut zooming out ï ϑink he just achieves ϑ’concept of God Save The Animals, of a “Christian album for aϑeists”, better ϑan Alex G himself. as muɕh as ï absolutely adore God Save The Animals iṋ its own right, ï ϑink ŵ Alex G missed ϑat Heavy Metals highlights so well iꝬ ϑat l𖹭ve iꝬ a fundamental pillar of spiritual experience. under ϑ’lens of an aϑeist, ϑ’problem w/ l𖹭ve under religion iꝬ ϑat it attempts to systematise ϑis experience w̃ really itꝬ ϑ’kind of ghost ϑat disappears w̃ ᴜ̊ insist on taking a picture, w̃ itꝬ an emergent sum of parts. ŵ makes ϑ’spiritualism universal iṋ Winter’s writing to me iꝬ ϑ’fact ϑat ϑey ԙ predominantly l𖹭ve soŋs.

Nina + Field of Cops can be interpreted as a l𖹭ve soŋ of a different kind. itꝬ literally just overflowing & overcome w/ emotion.. itꝬ definitely ϑ’on̅e ϑat makes me c̥̥̥̆r̂y̥̥̆ ϑ’most., & as confused saline runs do̬wn my face ïm led gracefully (& by gracefully ï mean kicking & screaming) iṋto $0 - gꙩd iꝬ real ïm nøt kidding ϑis time to a beautεĭзful neoclassical landscape reminiscent of ϑ’grassy fields of かがやき kagayaki. yeah okay itꝬ really good. itꝬ safe to assume ϑat ϑe “Nina” Winter repeatedly refers to iꝬ a spiritual summoning or projection or mirroring of Simone - w/ references to his admiration for her apparent boϑ iṋ ϑ’soŋ & documented on Twitter (to whiɕh ϑ’account for has been promptly deleted,. ï pray ï find ϑ’courage to do ϑ’same)

Nina, I’m not nothing but when you lie on the piano / I am reminded I am stupid, and in every upstairs room / The deep and smiling voice is shushing / Kicking everything to powder / Throwing music out the window

It is very hard to listen to most music after listening to Nina Simone. Her best work is so emotionally gigantic that comparing it to some Best New Music indie release is like watching Mike Tyson in the ring against car seat headrest

ïm inclined to ϑink Winter adopted ϑis understanding of spiritualism from Simone as ϑeir hymns share ϑ’same sensitivity. w/ø heading for ϑ’obvious low-hanging fruits like ϑ’ever reaching highs of Sinnerman, ï ϑink Nina felt quite deeply. ʃhe knew ŵ it was like to really yearn. iṋ What More Can I Say, ϑ’swelling crescendo iꝬ accompanied by ϑ’following:

I would go anywhere, anywhere you go / If you just say you wanted me too / What more can I say?

What more can she say?

Nina’s work is ɕhock-full of ϑese emotional overflows, or what Winter calls (in his tweet) a gigantism. ϑ’same rawness lends itself to môre ϑan just l𖹭ve. Nina can be on̅e of ϑ’angriest people on ϑ’piano second only to Fiona Apple. every time ï listen to Four Women (whiɕh, by ϑ’way, whiplashes right before What More Can I Say on Wild is the Wind) ï am reminded of how visceral & piercing it iꝬ. it pain(t)s a vivid uncompromising picture of ŵ it was like to be black & a woman in America. on̅e of Aunt Sarah’s torture, Saffronia’s uhhhhhhhh bastardization(?), Sweet Thing’s prostitution, and Peaches’ social orphanization.

My skin is brown / My manner is tough / I’ll kill the first mother I see / My life has been rough / I’m awfully bitter these days / Because my parents were slaves / What do they call me? / My name is Peaches (!!!)

iṋ ϑis way, her spirituality overflows outside of iṋternal affairs. if ᴜ̊ dare to lꙭk at anyon̅e for loŋ enůgh, ᴜ̊’ll find ϑ’passion inseparable from ϑ’anger, Nina yearned for much more than a lover.

my little HTML page cůldn’t do it justice.