But it also mirrored the world that Farzin was writing about. The ceiling leaked “at any given moment,” Ulicny says, “nothing in the studio would work, or weird sounds would appear and you’d have to chase them down.” The sense of chaos was palpable. While new member Graham Ulicny was on tour with The Faint, the rest of the band-Farzin, Lucero, guitarist Jac Aranda, and drummer Bryson Mounts-holed up in the studio, where they lived and wrote half of the record. The album was recorded in Omaha over three hectic weeks in August 2019. Crucially, it’s also the first Media Jeweler record to make its point plainly while previous albums were largely instrumental, Farzin’s lyrics articulate the intermixed confusion, frustration, and joy that comes with living a conscious life-ideas that have always been in the music, but largely went unsaid. Coming three years after the band’s second album, 1-800-SUCCEED, The Sublime Sculpture of Being Alive is the fullest realization yet of Media Jeweler’s unorthodox sound, the seeds they planted upon their founding in Orange County in 2013 come to fruit. He’s talking about the thematic scope of his band’s new album The Sublime Sculpture of Being Alive, which is out August 13th on Fire Talk Records, but he may as well be talking about how Media Jeweler has managed to hone their knotty, rhythmic, and ultimately jubilant music into something strong enough to carry real emotional weight-to do justice to what it feels like to live in the world Benjamin describes. Or, as bassist Thom Lucero puts it, we can forge “an acceptance of self and an acceptance of all the fucked-up shit we’re around all the time.”
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But consider its inverse: If there’s no escaping this influence, we’re free to come to terms with it, and to locate ourselves within it. It’s a claustrophobic thought, suggesting as it does that we might not be as in control of who we are as we believe ourselves to be. In his classic 1935 essay “Art in the Age of Mechanical Reproduction,” the German critic observed that our understanding of our lives and our experience of reality is moderated by the dominant technologies, politics, events, and advertising messages of our day we cannot see our way around them. Behind the clatter and clang of his band, behind the inexhaustible roll of melodies, behind the rhythms that seem to occupy three-dimensional space, Walter Benjamin lurks in the head of Media Jeweler’s Sam Farzin.
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