Over time, a budding interest in mindfulness, attachment theory, Dialectical Behavior Therapy, and rage gave way to new productive brain processes.

Comfort was occasionally found in internet reruns of Frasier and Star Trek Deep Space 9, texts on the ethics of terraforming and space colonization, and Ken Liu’s Remembrance of Earth’s Past trilogy. Strange long days were spent pacing the property with a rake, befriending ants and spiders and struggling with the instinct to poison them if they ventured into the home. Frequently thinking about death in the middle of nowhere opened a familiar black hole of troubling projections, and any desire to find freedom or remain positive continued to fold back into self-destructive thought and fear. In these silent time passages, Birgy experienced a complete loss of self amid the expanse. But true to Birgy’s alchemical writing practice, these bright stones simply refuse to blend into their arid environment, each one a precious gem chiseled by the anti-capitalist geologist’s hammer to reveal the impossible, dazzling life that inheres under the dusty exteriors of both the northern Nevada of her youth and the rural New Mexico of the album’s birth.Ĭohabiting with Life, and Another’s co-producer, engineer, and percussionist James Krivchenia ( Big Thief) in a small cabin near the Rio Grande off of NM State Route 68, Birgy found herself often alone, suspended between their separate touring schedules. Departing from the humid Holodeck spider plant nursery of previous record Dolphine (2019), Mega Bog’s new album brings us back to our home planet, into the rarefied air pressure of a dried-up desert valley where its fourteen songs were written and scattered like stones in the landscape.

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