But dance subgenres, such as jungle or garage, seek to express something different: the thrill of tearing through the space-time continuum, a fascination with tomorrow, a desire to accelerate toward new horizons faster than seems possible.
While making the songs that would be released as "A Crow Looked At Me", I wasn't thinking at all about sharing them with other people, family or strangers. Nobody. I was only thinking of squeezing the constant flow of words that was crashing around in my head into a familiar form, a song, since that was my habitual method of processing that had accidentally developed since adolescence. I made my inner monologue into songs for no other reason than to release it from my skull. At some point during the writing I recognized a feeling in the vicinity of "pride" about the work. It was a strange realization. These songs, and my the facts of my life that the songs were made from, seemed like nothing to be proud of. They seemed like something purely brutal and new and apart from my usual conception of creative work, and the notion of having excitement stemming from these new songs was accompanied by so many apprehensions and uncertainties.
The ear hears, the mind listens, the body senses vibrations.
To listen, is to give attention to what is perceived, both acoustically and psychologically.
Listening, or the interpretation of sound waves, then, is subject to time delays. Sometimes, what is heard is interpreted anywhere from milliseconds, to many years later or never.