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The Caretaker was a long-running project by English ambient musician, James Leyland Kirby (born 9 May 1974). His work as the Caretaker is characterized as exploring memory and its gradual deterioration, nostalgia , and melancholia. [ 1 ]
The artwork was created by Kirby's long-time friend Ivan Seal. [21] The arts of Seal and the music of Kirby were included on a French exhibition that occurred in 2019, done by the arts company FRAC Auvergne. Named after Everywhere, an Empty Bliss, it presented Kirby's music and names for the paintings used as the album covers.
This theme of Alzheimer's in music would be greatly expanded from 2016 to 2019 through Kirby's final series of albums as The Caretaker, Everywhere at the End of Time. An Empty Bliss Beyond This World was the Caretaker's breakthrough album, garnering critical acclaim upon its release and earning several year-end accolades.
Everywhere at the End of Time [a] (commonly shortened to EATEOT) is the eleventh recording by the Caretaker, an alias of English electronic musician Leyland Kirby. Released between 2016 and 2019, its six studio albums use degrading loops of sampled ballroom music to portray the progression of dementia and related neurological conditions.
Kirby abandoned the ballroom and installed themes of memory loss on his 2005 release of .mp3 files titled Theoretically Pure Anterograde Amnesia (2005). [7] It was a drone album, featuring six CDs with 72 tracks titled "Memories". [8] It was downloaded over 50,000 times on Kirby's V/Vm Test website. [2]
Kirby Lauryen Dockery, also known by the stage names Kirby (stylized as KIRBY) and Kirby Lauryen, is an American singer and songwriter. She has written pop songs such as " FourFiveSeconds " performed by Rihanna , Kanye West , and Paul McCartney .
Selected Memories from the Haunted Ballroom is the debut studio album by the Caretaker, an alias of musician Leyland Kirby.Released in 1999, it consists of an influence from the horror film The Shining, manipulating songs from the 1920s to resemble the film's music.
[5] Mike Powell of Pitchfork called Kirby's approach to the album "still extreme", noticing its "three discs, four hours, [and] little variation". [6] The Line of Best Fit ' s Matt Poacher argued that, with the record, "one wonders what it is that Kirby truly mourns and whether the whole enterprise is founded on some abstract notion of grief." [10]
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