Co-Written by Dom DeLuise & Brice Frillici

In the dense, interwoven tapestry of modern music and personal narrative, Brice Frillici stands as a stark architect of sound, his creations forged in the crucible of intense personal experience and deep-rooted artistic influences. His latest project—a dual homage involving a reimagining of Sunn O))) 's "My Wall" and his original work "The Answer"—serves as a resonant exploration of themes ranging from existential dread to personal redemption.

Frillici's engagement with "My Wall" is less a simple cover than a profound dialogue with its creators. He absorbs the original's dense mythological layering, reflecting on themes of power, boundaries, and transformation through his distinct lens. The song, steeped in the visceral imagery of mythic battles and divine reckonings, mirrors Frillici's own internal and external conflicts—his struggles with a Bay Area that morphed over two decades into a landscape he no longer recognizes or cherishes.

"And then I was King Vikar with his broken neck / And then I was the villain and the victim and the priest,"

Julian Cope's lyrics illustrate a multiplicity of identities, each carrying the weight of historical inevitability and personal agency.

Akin to Vikar, bound by fate, his destiny is marked by the very place he once loved.

The wall is both a boundary and a prison, a symbol of the barriers he faces and the divisions within himself. As the song reverberates with the heavy strumming of a "gloom axe," so too does Frillici's life oscillate between resonance and dissonance, a symphony of triumphs and defeats:

"Look to the farthest far horizon. Don't blame the messenger. Don't blame the messenger."

These lines speak to the inevitability of fate and the acceptance of one's role in the unfolding of events, a theme that parallels Frillici's acceptance of his past and the consequences of his choices.

"The Answer" – A Counterpoint

Crafted as a direct response not only to "My Wall" but to his life experiences, weaves darker threads of vengeance and disillusionment through the narrative. Here, Frillici's prose transforms into a cathartic expulsion of betrayal and regret. A reminder of the inevitable unfolding of events, the roles we are cast to play, and the acceptance of one's own narrative within the grand cosmic play.

This song chronicles his time in a place that, while offering communal solace, also served as a stage for many grievances, abuse, exploitation, and untold mayhem, encapsulated in the lyrics:

"I was tricked by your wickedness / Your blasphemous dickheadedness."

It is an exorcism of the demons of his past, a declaration of independence from the disillusionment that had plagued him. The lyrics pour from him, raw and unfiltered:

"I've been underground like a shrew, Working diligently on my vengeance plot."

These words, heavy with the weight of his pain and anger, resonate within the confines of his studio, a battle cry from the depths of his beleaguered spirit.

In "The Answer," he confronts his tormentors—not just the individuals who betrayed him, but the very concepts of faith and loyalty that had once anchored him. Each chord strikes a blow against the façade of societal expectations and artistic conformity:

"With See through Lace Armor, Thinks its Good Plated Chainmail, In protection of Innocence, Against Debased Hail and Wind Gale,"

Here, Frillici exposes the vulnerability behind our bravest fronts, challenging the listener to peer beyond the surface to question the very nature of reality and illusion. i.e., Don't prey on false idols.

Both songs, delivered in style reminiscent of Edgar Allan Poe's haunting verses—a fusion of spoken word and metal—carry the unmistakable imprint of Frillici's artistic lineage. They echo the dissonant chords and thematic depth of Sunn O))), yet diverge through Frillici's unique interpretative lens and signature doom drone noise approach. His articulation, dense with allegory and allusion, invites listeners into a richly layered dialogue with the music, the cultural icons it references, and the personal histories it evokes.

As he delves deeper into the creation of his dual performances, Frillici contemplates the duality of existence—the light and the dark, the seen and the unseen, the spoken and the silent. His music becomes a bridge between these worlds, a means of navigating the complex geography of human emotion and existential dread.

In crafting this narrative, Frillici aligns himself with the likes of other profound literary and musical figures, drawing parallels to the melancholic resonance of Poe's poetry and the existential musings of classic/modern philosophers. Nietzsche, Sartre, Camus, Schopenhauer.

These thinkers and writers provide a philosophical and existential framework that can be seen woven into aspects of Frillici's music and personal musings. Their collective exploration of the human condition, through the lens of existential dread, individual freedom, and the search for meaning, offers a rich backdrop. Other genres of his work exist entirely and without such ideological underworld thinking, mind you. This is not all that is there. Look deeper. Look elsewhere.

This singular work, thus, does not exist merely as a musical endeavor but as a literary artifact, one that challenges the boundaries between genres and mediums.

Through this complex interplay of homage, reinterpretation, and personal revelation, He redefines his musical heritage but also offers commentary on the nature of artistic creation itself.

It's a process that is as much about looking inward to one's influences and experiences as it is about expressing outward, a narrative that resonates with anyone who has felt the profound impact of place, time, and memory on their identity. To Sunn O)), one of the hugest impacts on Frillici's creative work overall, I thank you with a fun and hopefully glorious nod and bow my respect. This was a fk'n Blast to make! Huge thanks. I speak as myself and in the third person at one time! Am I a magician? Yes, this is true. Rebellious literary illegality. He does this in one paragraph! illeism! Blaspheme!

This story serves as a testament to the power of music and narrative to transcend mere sound and become a medium for profound personal and collective expression and subtle underground mythological connection, ensuring that Frillici's impact will resonate long beyond the immediate scope of his creations.

Stephen O'Malley, co-founder of the avant-garde drone metal band Sunn O))), is celebrated for his unique approach to guitar playing, dubbing his instrument the "gloom axe." Characterized by its deep, droning sounds that create a hypnotic, enveloping sonic experience, O'Malley's playing emphasizes sustained tones and overtones that interact profoundly with the listening space. His technique focuses not on speed or complexity but on crafting a massive, immersive wall of sound marked by significant pauses and silences that add complexity to the music. Utilizing a meticulously curated setup of amplifiers and effects pedals, O'Malley achieves a sound that is both overwhelmingly powerful and introspective. This "gloom axe" transcends traditional musical boundaries, challenging conventional perceptions and emphasizing music as a physical, transformative experience. Through his performances, O'Malley has not only defined Sunn O))) 's sound but has also profoundly influenced the drone and doom metal genres, cementing his legacy as a pioneer in expanding the possibilities of music.

A heartfelt thank you to all the incredible talents behind Sunn O))) 's album "White1," which features the evocative track "My Wall." Special appreciation goes to Stephen O'Malley and Greg Anderson for their visionary leadership and musical prowess. We extend profound gratitude to Julian Cope for his distinctive spoken word contribution that profoundly enriches the song. Immense thanks also to Randall Dunn, whose expertise in production has significantly shaped the atmospheric and immersive sound of the album. Each of you has played a pivotal role in crafting this unique auditory experience, leaving a lasting imprint on the landscape of experimental music. Your contributions are deeply valued and have been crucial in bringing this groundbreaking project to fruition.

These songs, like ancient runes, hold the keys to understanding not only one artist's journey but also the universal quest for meaning in a world that often seems devoid of it.

As Frillici stands in his studio, the last notes and (STRONG!!!!) long-held notes/screams in "The Answer" fading into the stillness, he feels a sense of completion, of catharsis. He has not only answered Sunn O))) but also the call of his own troubled spirit. And in this moment of quiet triumph, he knows that while the world may change and the walls may rise, the music—and the story it tells—will endure, a lasting testament to authentic truth as well as the power of human creativity and resilience.

"Friðr sé með þér" - which would be a modern interpretation or construction translating to "Peace be with you" in Old Norse.

And also with you. Rest in Peace, Tunces the Driving Cat. You were a shining light, and I love you will all my heart to this day and forever. You will live on again, and you had a lucky time on this earth, chillin' with the awesome. And the love. And your many, many friends you met along the way, including that neighbor you used to hang with who fed you fish heads. We will meet again in Valhalla and get pets from Odin, Allah, Jesus God, and Cliff Burton, amongst many others.

Love, Brice.