B.O.O.M was built without structure or subject integrity. Partly built in Portuguese, it was a poetic concept I dribbled into during my ‘poetic diary’ era, stemming from an old relationship I had for quite a while. We had made a habit of playing ‘BOOM’ (also known as The Devil’s Game, Don’t Screw Me, or The Mexican), near the marine front of the Tagus river, in downtown Lisbon, also called “Ribeira das Naus“. We also shared a very big passion for 60s music, which I referenced plenty ‘o times within the composition itself (“What a beautiful feeling” a line from Crimson and Clover, “Under the Boardwalk” a line from a song with the same name.)
The composition also references portuguese writer Eugénio de Campos, another shared passion, with the line “guided by horizons of desolated countries”, a loose adaptation of his verse “um horizonte de cidades bombardeadas” from Palavras Interditas.
It attempts to drawn from the general unfair game of expectation elevating a present sense of perception. Often we create an image proxy to widen the distance between what we experience and what we should ideally be feeling from that experience, allowing for an extension of understanding, but sacrificing present identities in the midst of our own perceptive images. This composition attempts to display that overly complex social mechanism in a more light, poetic manner, tugging and pulling between the ideal (syntaxis) and a more sharp version of reality (parataxis).