Exercises In Futility II

Mgla Mgla

The Abyss of Existence: A Journey Through 'Exercises In Futility II'

Mgla's 'Exercises In Futility II' is a profound exploration of existential despair and the human condition. The song delves into themes of nihilism, futility, and the inherent suffering that accompanies life. The opening lines, 'There is a style in total denial / A certain elegance of fear,' set the tone for a journey through a bleak and desolate inner landscape. The reference to 'Hesychasm,' a mystical tradition of contemplative prayer in Eastern Orthodoxy, juxtaposed with 'the desert within ourselves,' suggests a search for peace in the midst of internal chaos.

The imagery of 'stray dogs lead disciples of Oedipus' and 'exquisite paroxysms of ruin' paints a picture of lost souls guided by tragic fate, echoing the myth of Oedipus who was doomed by prophecy. The 'cracks in soma, psyche, and pneuma'—body, mind, and spirit—are likened to 'one way mirrors,' reflecting a fractured self that can only see its own despair. The 'well-lit desert' and 'pyres extending beyond the horizon' symbolize a barren, endless expanse of hopelessness, where 'cold flames flicker upon ashes of hope.'

The song's refrain, 'Nether,' emphasizes a state of perpetual limbo, a place of neither life nor death. The 'hallways carved in a crystal' and 'jostling through cadavers of former selves' evoke a sense of being trapped in a labyrinth of past failures and lost identities. The 'unceasing howling of the heart' and the 'reward for the perseverant' suggest that the only certainty is continued suffering. The closing lines, 'With every dream / The pyres grow taller,' underscore the futility of hope and ambition, as each aspiration only adds to the towering inferno of despair. Mgla's dark, atmospheric soundscape complements the lyrical content, creating a haunting and immersive experience.

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  1. Exercises In Futility VI
  2. Exercises In Futility V
  3. Exercises In Futility II
  4. Exercises In Futility
  5. Age Of Excuse II
  6. Age Of Excuse I
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