I Could Be Your Dog / I Could Be Your Moon is as abstract as any title you could give a piece of work. It is also to the point of the album's effects and purpose. Reflecting on a mangy transcendence, a loyal aloofness, a sociable radiance- it constitutes a merging spiral of self-identifying, dumb servility and unattainable eminence. A tension of irreconcilable concepts and associations that keeps your mind suspended and stuck in free-floating limbo, like a fly dangling from the single thread of spider's silk- unable to free itself and untroubled by the rationale to try, as the spider who made the silk was eaten by a bird earlier that afternoon. The pleasure and pale discomfort of these conflicting relations is the crux of the album's hexing charm. Composers Kaitlyn Aurelia Smith and Emile Mosseri met when Kaitlyn messaged Emile, entirely out of the blue, after hearing his score for the film The Last Black Man in San Francisco. It was seemingly an easy friendship that blossomed out of their conversations concerning Emile's work, and an effort to combine their visions was born out of the encounter. Despite the album's dichotomous, literal and figurative, structure, the conflict between the artist's techniques and tones produces a homeostasis that is a rich and inviting habitat for the mind's projection of itself and its image in repose against an ever-expanding world. A psychic soup that acts as both a spiritual koi pond and experiential petri dish in which exotic primordial amphibious fauna flourish and multiply after being discharged from the maniacal confinements of linear time. You can float on the surface of its atmosphere or dive to the belly of its depths. However you choose to make your peace, I Could Be Your Dog / I Could Be Your Moon will accommodate in its own deliberately detachment and darkly illuminating way.
