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Everywhere at the End of Time
A grey, unravelling newspaper scroll resting on a blue gradient horizon.
Cover art for Stage 1 (2016)
Studio album series by
the Caretaker
Released
  • 22 September 2016 (2016-09-22) (Stage 1)
  • 6 April 2017 (Stage 2)
  • 28 September 2017 (Stage 3)
  • 5 April 2018 (Stage 4)
  • 20 September 2018 (Stage 5)
  • 14 March 2019 (Stage 6)
StudioCalyx Mastering, Berlin
Genre
Length390:31 or 6:30:31
LabelHistory Always Favours the Winners
ProducerLeyland Kirby
the Caretaker chronology
Extra Patience (After Sebald)
(2012) 		Everywhere at the End of Time
(2016–2019) 		Everywhere, an Empty Bliss
(2019)

Everywhere at the End of Time (commonly shortened to EATEOT[a]) is the eleventh album by the Caretaker, an alias of English electronic musician Leyland Kirby. Released between 2016 and 2019, its six studio song collections use decaying loops of sampled ballroom music to represent the development of Alzheimer's disease. Given great ideas from the success of An Empty Bliss Beyond This World (2011), Kirby produced Everywhere as his final major work under the alias. The song collections were produced in Krakow and released over six-month periods to "give a sense of time passing", with abstract song collection covers by his friend Ivan Seal. The series drew comparisons to the works of composer William Basinski and electronic musician Burial while the later stages were influenced by avant-gardist composer John Cage.

The series contains six hours of music, representing a range of feelings and characterized by noise throughout. Although the first three stages are just like An Empty Bliss, the last three are different from Kirby's earlier ambient works. The song collections reflect the patient's mental illness and death, their feelings, and the unusual event of terminal lucidity. To increase the popularity of the series, unnamed visual artist Weirdcore created music videos for the first two stages. At first worried about whether the series would seem longer than necessary, Kirby thought of not creating Everywhere at all, but he ended up spending more time producing it than any of his other releases. The song collection covers received attention from a French art exhibition named after the Caretaker's Everywhere, an Empty Bliss (2019), a collection of unused songs.

As each stage was released, the series received more and more positive reviews from critics; its length and dementia-driven idea led many reviewers to feel emotional about the complete edition. Thought about/believed to be Kirby's greatest album, Everywhere was one of the most praised music releases of the 2010s. Caregivers of people with dementia also praised the song collections for increasing empathy for patients among younger listeners, although some medics felt the series was too linear. It became very popular on the Internet in the early 2020s, newly appearing in TikTok videos as a listening challenge, being changed into a mod for the video game Friday Night Funkin' (2020) that caused much discussion, and appearing in internet memes, most famously in The Backrooms.

Background

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Al Bowlly, a big band artist sampled on Everywhere at the End of Time

In 1999, English electronic musician Leyland Kirby adopted the fake name the Caretaker, whose work sampled big band records. Kirby drew influence from the haunted ballroom scene of filmmaker Stanley Kubrick's work The Shining (1980), as heard on the first release of the alias, Selected Memories from the Haunted Ballroom (1999).[1] His first records featured the ambient style that would be well-known in his last releases.[2] The project first explored memory loss in Theoretically Pure Anterograde Amnesia (2005), a three-hour-long song collection representing the disease of the same name. By 2008, Persistent Repetition of Phrases saw the Caretaker alias gaining critical attention and more fans.[1]

In 2011, Kirby released An Empty Bliss Beyond This World, reaching fame and respect for exploring Alzheimer's disease.[1] Although Kirby at first did not want to produce more music as the Caretaker, he felt forced to continue the project following the success of An Empty Bliss. He then thought the only idea left to explore was the development of dementia, which he imagined would slowly happen through a series of six song collections.[2] It would be his final release as the Caretaker; Kirby said, "I just can't see where I can take it after this." Everywhere at the End of Time represents the symbolical "death" of the Caretaker alias itself,[1] with many songs from the fake name's earlier song collections being sampled in it.[3]

Music and stages

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"For to be capable of remembering this music as a real-time, living culture, you'd have to be in your nineties now. What Kirby presents here could be heard as the faint, faded memory-fragments of once-beloved tunes as they waver on in atrophying minds."[4]

The song collections, which Kirby describe as exploring dementia's "development and destruction of the mind", present poetic track titles and descriptions for each stage.[5][6] The descriptions with the song names represent a person with dementia and their feelings.[7][8][9] Ideas of worsening memory, sadness, confusion, and abstractness are present throughout, and according to writer Alexandra Weiss, Kirby's work "raises significant questions about Western attitudes toward death."[10][11] Tiny Mix Tapes suggested that, as the swan song of the Caretaker alias, Everywhere "threatens at every moment to give way to nothing."[12] The song collections have an avant-gardist, experimental idea,[13][14][15] with music magazine Fact noting a "hauntological link" in Everywhere's style and vaporwave's themes.[16] Author Sarah Nove said good things about Everywhere's lack of a physical form of aura, while Bandcamp Daily's Matt Mitchell wrote that the series ends in "light and airy release of emotional stress".[17][18]

The way series explored decay was compared to The Disintegration Loops (2002–2003) by musician William Basinski,[2][19] which, unlike Kirby's work, The Disintegration Loops focus on physical tape decay in coincidence with the September 11 attacks–not decay caused by software, which represents a nerve-based disease.[10][20][21] Although positive of Basinski's works, Kirby said his own "aren't just loops breaking down. They're about why they're breaking down, and how."[2] The sound of Everywhere has also been compared to the style of electronic musician Burial.[10] Author Matt Colquhoun wrote for The Quietus that both artists "highlight the 'broken time of the twenty-first century.'"[22] While reviewing the first stage, writers Adrian Mark Lore and Andrea Savage thanked the record for enjoyers of Basinski, Stars of the Lid, and Brian Eno.[23] Certain samples return constantly throughout--in particular, the 1931 song "Heartaches" as covered by Al Bowlly--and worsen more with each song collection.[10] In the last six minutes, a song from A Stairway To The Stars can be heard.[3]

The songs get more twisted with each stage, reflecting the patient's memory and the worsening of the patient's memory.[24] The jazz style of the first three stages is similar to An Empty Bliss, using loops from vinyl records and wax cylinders. On Stage 3, the songs are shorter--some lasting for only one minute--and usually avoid fade-outs.[10][15] The Post-Awareness stages represent Kirby's desire to "explore complete confusion, where everything starts breaking down."[14] The two second-to-last stages present chaos in their music, representing the patient's altered perception of reality.[25] The last stage consists of drones, representing the emptiness of the afflicted person's mind.[19] In the last album's last 15 minutes, it features an organ. It features a choir. It features a minute of silence, representing death.[19][26] Stages 4–6 are often highlighted as the focus of Everywhere's concept. They are also highlighted as the focus of Everywhere's songs. Miles Bowe of Pitchfork wrote about how unlike Kirby's other ambient albums, the later stages were changing their sound in new, usually scary ways.[27] Kirby described the series to be "more about the last three [stages] than the first three."[2] In their Handbook of the Anthropology of Sound, Bloomsbury Academic describes the later stages as a confusing rearrangement of blended memories with a lot of reverberation, comparing them to amusia. The later stages were also compared to amusia's effects on musical memory.[28]

Stages 1–3

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"It's Just a Burning Memory" redirects here. For the 1931 song itself, see Heartaches (song).
Everywhere at the End of Time – Stages 1–3
A collage of an unravelling scroll, a flower pot, and a distorted vase.
From left to right: Beaten Frowns After (2016), Pittor Pickgown in Khatheinstersper (2015) and Hag (2014)
Box set by
the Caretaker
Released
  • 22 September 2016 (2016-09-22) (Stage 1)
  • 6 April 2017 (Stage 2)
  • 28 September 2017 (Stage 3)
Genre
Length
  • 41:18 (Stage 1)
  • 41:48 (Stage 2)
  • 45:29 (Stage 3)
the Caretaker chronology
Extra Patience (After Sebald)
(2012) 		Everywhere at the End of Time – Stages 1–3
(2016–2017) 		Take Care. It's a Desert Out There...
(2017)
Audio sample
File:It's just a burning memory - sample.ogg
A1 – "It's Just a Burning Memory"[b]

Stage 1 is described as the first signs of memory getting worse, being the closest album in the series to "a beautiful daydream".[5] On its vinyl release, it has inscripted text reading "Memories That Last a Lifetime".[29] Like An Empty Bliss,[30] Stage 1 has parts of songs from the 1920s plus the 1930s, repeated for long times. The songs were also altered with pitch changes. The songs were altered with reverberation. The songs were altered with overtones. The songs were altered with vinyl crackle.[31] The album features a range of emotions, demonstrated by the ideas its song names evoke.[10][32] Names like "Into each other's eyes" may be interpreted as a romantic memory. More threatening names, like "We Don't Have Many Days", represent the patient's recognition of their own mortality.[33][34] Despite being a happy album by the Caretaker,[35] some of its happy big band songs have more changes than others, with one author finding it mildly sad.[30][36][37] Michele Palozzo of Italian music publication Ondarock [it] compared the album's style to Stanley Kubrick's Eyes Wide Shut (1999). He also compared the album's style to the works of filmmaker Woody Allen, specifying the "elegance" of Kubrick's film. He also specified the dramatic avidity of Allen's work.[38]

Stage 2 is described as the patient realizing that something is wrong. It is also described as a refusal to accept that something is wrong.[5] He also stated that a person in this stage "probably tries and remember more than [they] usually would".[1] In contrast with the first stage's happy sound, Kirby noted the second stage as having a mood that is different from the mood of Stage 1[1] with "A Losing Battle Is Raging" representing a transition between the two moods.[33] The album has a relatively emotional tone compared with Stage 1, with more sad samples. The samples also got worse. The samples were also more droning.[10][39][40] Its source material has more abrupt endings, exploring a hauntological ambience.[40] Song names, like "Surrendering to Despair", represent the patient's awareness of their mental illness. It also represents the accompanying sorrow. The song name "The Way Ahead Feels Lonely" is directly lifted from a book on dementia by Sally Magnusson.[41] The songs play longer. The songs feature fewer repeating parts. The repeating parts are worse in quality,[10] representing the patient's realization of their faulty memory. It also represents the resulting feelings of denial.[42]

Stage 3 is described as featuring "some of the last coherent memories before confusion fully rolls in and the grey mists form and fade away."[5] Kirby explained it has the last moments that the patient knows of their dementia.[2] Samples from other albums, like those of An Empty Bliss, return with an underwater-like sound, representing the patient's growing despair. This also represents their struggle to keep their memories. Other stages presented common fade-outs on songs, some songs of Stage 3 end abruptly. Many of them are longer than necessary. Some cut out before they really get started. Their names become more difficult to understand, combining names of songs from the previous stages and An Empty Bliss to create names like "Sublime Beyond Loss" and "Internal Bewildered World".[34] The last songs of the album present the last melodies that can be identified. Some nearly lose their melodic qualities.[34] In Kirby's description, Stage 3 represents "the last embers of awareness before we enter the post awareness stages."[5]

The first song of Everywhere, "It's Just a Burning Memory", introduces "Heartaches", one of the main samples that slowly get worse throughout the series.[10] In Stage 1, it is a version by Al Bowlly. Al Bowlly is one of the most sampled musicians in the Caretaker alias.[2] The third song of Stage 2, "What Does It Matter How My Heart Breaks", has a slower version of "Heartaches"[10] using the Seger Ellis version of the song. This specific version, unlike its Stage 1 counterpart, sounded sad to Kirby.[1] By the second song of Stage 3, "And Heart Breaks", the last coherent version of "Heartaches" can be found. Its horn aspects become more similar to white noise.[10] These songs sampling "Heartaches" take their names from the sample's lyrics. The lyrics are themed around memory. Bowlly sings, "I can't believe it's just a burning memory / Heartaches, heartaches / What does it matter how my heart breaks?"[43]

Stages 4–6

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Template:Featured article

Everywhere at the End of Time – Stages 4–6
A collage of a blue bust of a woman, a ballerina on a staircase, and a blank canvas.
Giltsholder (2017), Eptitranxisticemestionscers Desending (2017) and Necrotomigaud (2018)
Box set by
the Caretaker
Released
  • 5 April 2018 (2018-04-05) (Stage 4)
  • 20 September 2018 (Stage 5)
  • 14 March 2019 (Stage 6)
Genre
Length
  • 87:19 (Stage 4)
  • 88:19 (Stage 5)
  • 85:56 (Stage 6)
the Caretaker chronology
Take Care. It's a Desert Out There...
(2017) 		Everywhere at the End of Time – Stages 4–6
(2018–2019) 		Everywhere, an Empty Bliss (CD version)
(2019)
Audio samples
File:The Caretaker - Post Awareness Confusions 2.ogg
"H1 – Stage 4 Post Awareness Confusions"
File:The Caretaker - Place in the World fades away.ogg
"R1 – Stage 6 Place in the World Fades Away"

Stage 4 is described as the point at which "the ability to recall singular memories gives way to confusions and horror."[5] It presents a large degree of changes and reverberation. It is more similar to noise, unlike the first three albums. The first three albums have the same style as An Empty Bliss.[10][27] Marking the start of the "Post-Awareness" stages,[44][45] its four songs occupy whole vinyl side lengths.[46] Songs G1, H1, and J1 are named "Stage 4 Post Awareness Confusions". Bowe felt the names were clinical names. I1 is named "Stage 4 Temporary Bliss State".[27] One specific part of H1, called the "Hell Sirens" by fans, presents a horn sample that Hazelwood felt was "one of the most horrifying moments of the series."[10] However, "I1 - Stage 4 Temporary Bliss State" is a song calmer than the 3 "Stage 4 Post Awareness Confusions" songs, having a more ethereal sound.[27] The surreal and incoherent aspect of the melodies was compared by Bowe to experimental musician Oval's album 94 Diskont (1995). This is because they capture the scariest, "most damaged sounds" in the entire project.[25][27]

Stage 5 is described as having "more extreme entanglements", repetition and rupture that can give way to calmer moments."[5] The album expands its noise influence, It is similar to the works of Merzbow. It is also similar to the works of John Wiese.[10] In its ear-piercing, more violent tone,[47] coherent melodies are less common. The melodies are replaced by overlapped samples. Hazelwood compared it to a traffic jam. They also compared it to neurons that become filled with beta amyloids.[10] To Falisi, it lacks any sense of comfort. This is not like Stage 1's first signs. Stage 5 presents a total absence of order.[48] The album uses the most vocals of the series, including whispers. The album also uses English lyrics that can be identified. Near the end of the first song, a man says, "This selection will be a mandolin solo by Mr. James Fitzgerald."[10][47][49] Like Stage 4, Stage 5's song names are clinical, using references to neurology like plaque, entanglements, synapses, and the retrogenesis hypothesis. Hazelwood considered names like "Sudden Time Regression Into Isolation" to be documenting dementia's "inhumanity".[10]

Stage 6 is described in a cryptic manner: "Post-Awareness Stage 6 is without description."[5] UWIRE's Esther Ju called it the most interpretative album of the series. They said "most would describe it as the sounds of the void."[50] Stage 5 had parts of recordings of instruments. Stage 5 also had parts of recordings of voices. Stage 6 has drowned, empty songs consisting of hissing and crackling. Hazelwood interpreted that as portraying the patient's apathy.[10][51][52] It generally consists of sound collages. In these sound collages, the music is audible, yet distant.[26][53] The stage's song names are less clinical. The names consist of phrases that are more emotional, like "A Confusion So Thick You Forget Forgetting" and "A Brutal Bliss Beyond This Empty Defeat".[10] It sounds the most different from An Empty Bliss. It represents strong anxiety.[19][54] After making Stage 6 available to the public, Kirby commented on the YouTube video of the complete edition: "Thanks for the support through the years. May the ballroom remain eternal. C'est fini."[c][5]

The last song, "R1 - Stage 6 Place in the World Fades Away", has organ drones. The organ drones have been compared to the 2014 film Interstellar's soundtrack.[55] The organ eventually gives way to a needle drop.[10][19][26] The climax of Everywhere, six minutes before the project's end, has a clearly audible choir sourced from an old vinyl record.[19] The series ends with a minute of silence representing the patient's death. Although the moment evoked varying interpretations from commentators, the most accepted theory by critics and medics is that it represents terminal lucidity, a medical phenomenon. Patients with neurological conditions could experience terminal lucidity. Terminal lucidity is a return of mental clarity shortly before death.[10][56] Falisi considered it the movement of the patient's soul to the afterlife.[51] The part samples a music show of an English translation of Bach's aria "Lasst Mich Ihn Nur Noch Einmal Küssen"[d] of the St Luke Passion, BWV 246. This aria was also used on the song "Friends Past Reunited" from Selected Memories from the Haunted Ballroom (1999), It was also used in the album A Stairway to the Stars (2001). Both of them were the Caretaker's first two albums,[3] a fact interpreted by writer Paul Simpson of AllMusic as the alias in a "full circle moment".[47]

Production

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Kirby produced Everywhere at the End of Time at his flat in Kraków using a computer "designed specifically for the production of music". He made more songs for the first stage alone than in the alias' entire history. The albums were produced a year before they were made available to the public. Stage 3's development began in September 2016. Stage 6's development began in May 2018.[1][57] Kirby stated that the first three stages have small changes. These changes were also very important. They present the same general style "based on the mood and the awareness that a person with the condition would feel."[58] He wanted the mastering process, done by Andreas "Lupo" Lubich,[59] to be "consistent sounding all the way through". He said a strategy was to use various covers of sampled songs to associate specific emotional messages with each. Rather than buying physical records as he did with An Empty Bliss, Kirby found most samples online, stating, "It's possible to find ten versions of one song now." He noted that Stage 1 repeated short parts of songs. Stage 2 would let the samples play longer. Describing Stage 3 to be the most similar to An Empty Bliss, Kirby stated that it was not impossible for Stages 1–3 be listened to on shuffle. Even when listened to on shuffle, Stages 1-3 would still remain cohesive.[1] Between the third stage being made available and the fourth stage being made available, Kirby announced he was "moving house and studio".[60]

Kirby's production focus was on the last three stages.[1][2][61] He wanted to create what he called a "listenable chaos". Kirby added that, while producing Stage 4, he realized that the last three stages "had to be made from the viewpoint of post-awareness." Explaining the name, Kirby named them "Post-Awareness" because they are when the patient is not aware of a mental illness.[58] He reported feeling pressured while working on the last three stages, saying, "I'd be finishing one stage, mastering another, all whilst starting another stage." In composing Stages 4-5, Kirby claimed he had over 200 hours of music. He put it together based on mood.[61] The Believer's Landon Bates compared Stage 4 to "Radio Music" (1956) by composer John Cage. Kirby responded to this by saying that Cage's style of aleatoric music—music with random elements—gave him ideas that were used in the later stages.[58] He said Stage 5 is "a distinct change" from Stage 4, writing that "it's not immediate but it's a crucial symptom."[1] Kirby said the production of the last stage was the hardest, due to the public's expectations. It was also the hardest because of "the weight of the previous five [stages] falling all on this now."[58]

Artwork and packaging

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"You can't trust any memories at all, can you? Because it's all glitched [and] nonsense in a way."[62]

The album art for Everywhere at the End of Time consists of abstract oil paintings by Kirby's long-time friend Ivan Seal.[63][64] They are minimalist, each presenting a single object of focus. There is no text. The art becomes harder to identify with each stage.[36][65] Tiny Mix Tapes included Beaten Frowns After—the artwork for Stage 1—in their lists for the best album art of 2016 and of the 2010s.[66][67] Some have compared the artistic themes of Kirby and Seal. Like Kirby, Seal highlights memory as a central part of art. He said "Art is always working from memory".[63][62] Noting this overlap, Kirby said that both visions "collide in a great way".[58]

The art of the first three albums are named Beaten Frowns After (2016), Pittor Pickgown in Khatheinstersper (2015) and Hag (2014), respectively.[68][69] Beaten Frowns After shows a grey unravelling scroll on an empty horizon, with newspaper folds similar to a brain's creases.[36] Teen Ink writer Sydney Leahy compared the brain creases to the patient's awareness of the disease's development.[65] Pittor Pickgown in Khatheinstersper shows four wilting flowers in an abstract rotten rock vase.[40][65][70] Hag features a kelp plant that is changed so much in appearance, that it cannot be identified. Sam Goldner of Tiny Mix Tapes described the art as "a vase spilling out into ripples of disorder."[65][70]

The art of the last three stages are respectively named Giltsholder (2017), Eptitranxisticemestionscers Desending (2017) and Necrotomigaud (2018).[69] Giltsholder is the only artwork to have a human figure, in the form of a blue-and-green bust with a face that cannot be identified. Goldner said the figure appears smiling when viewed from a distance. Leahy thought the art represented the patient's lack of capability to identify a person. [70][65] Considered the most abstract art, Eptitranxisticemestionscers Desending shows an abstract mass. Writers claim the art depicts a woman or a marble-like staircase. Hazelwood thought it represented the patient's mind. The art once presented experiences. The art cannot be identified anymore.[10][65] Necrotomigaud presents an art board with a square of loosely attached blue tape, representing the emotional emptiness of Stage 6.[26][65]

Seal's paintings were shown in the 2019 French art exhibition Everywhere, an Empty Bliss by the company FRAC Auvergne. The Caretaker's music was also featured at the art exhibition. The exhibition had documents about the duo's work. It revealed the names of the album art.[68][69][71] Previously, Seal's paintings were also shown near one of Kirby's music shows in the 2019 exhibition Cukuwruums.[63] In 2018, when asked why the packaging of his albums did not have any descriptions, Kirby said Seal's paintings are the main focus of each stage. He stated that liner notes would distract from Seal's art. He kept them in digital form for listeners that "search a little deeper".[58]

Release and promotion

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At the start, Kirby thought of not producing Everywhere at all. For months before the the first stage was made available to the public, he mentioned the concept to friends and family, explaining he "wanted to be sure it didn't come across as this highbrow, pretentious idea."[1] The albums were made available to the public over three years. The first stage was was made available in 2016,[72][73][74] the next two stages were made available in 2017,[75][76][77] the second-to-last two stages were made available in 2018.[78][79][80] The last album was made available in 2019.[81][82][83] Kirby said the delays were made to "give a sense of time passing" to the listeners.[1] He expressed concern with dementia as a social problem. Despite this, Kirby said the mental illness does not affect him "at a personal level". He noted how it turned into "more of a fascination than a fear".[2][58][61] He additionally stated that each dementia patient's experience is unique. His portrayal was "only unique to the Caretaker".[61] Kirby's music was not available on Spotifyat the start due to his criticism of it. It was also because of what he called the "constant devaluing of music by big business and streaming services."[84] On 11 December 2023, Kirby reluctantly uploaded all stages of Everywhere onto streaming services. This was because he was not satisfied with "people endlessly trying to monetize and exploit the work by repeatedly uploading it".[85]

Stage 6 release note

"When work began on this series it was difficult to predict how the music would unravel itself. Dementia is an emotive subject for many and always a subject I have treated with maximum respect.

Stages have all been artistic reflections of specific symptoms which can be common with the progression and advancement of the different forms of Alzheimer's.

Thanks always for your support of this series of works remembered by The Caretaker."[15]

When he made the first stage available on 22 September 2016, Kirby announced the series' concept,[86] "diagnosing" the Caretaker alias with dementia through albums that reveal "progression, loss and disintegration" as slowly lost all of their memories.[87][88] This statement misled some to believe that Kirby himself had been diagnosed with early-onset dementia, namely The Fader's Jordan Darville and Marvin Lin of Tiny Mix Tapes. Both publications updated their posts. This was because Kirby clarified that he did not have dementia. Only the Caretaker persona did.[88][89][90] He made Stage 3 available on the same day as We, So Tired of All the Darkness in Our Lives. The latter was made available under his own name.[60] Making Stage 5 available, Kirby's press release compared the series' development to the then-ongoing Brexit process.[91] The Caretaker's last album, made available alongside Stage 6, was Everywhere, an Empty Bliss (2019), a compilation album of scrapped music from Everywhere.[92][93][94]

Anonymous visual artist Weirdcore created music videos for the first two stages, both uploaded to Kirby's YouTube channel vvmtest.[95][96] Made available in September 2016 and 2017, they have effects like time-stretching and delay. Weirdcore was known for creating visuals for ambient musician Aphex Twin.[97] Kirby said the visuals are important to his music. He called them "otherworldly".[58] In 2020, Kirby and Weirdcore again collaborated in the YouTube video "[−0º]". It was chosen as one of the best audiovisual works of the year by Fact.[98][99] As of 5 November 2024, there are no official music videos on vvmtest for the last four stages.[100]

 
The Kraków Barbican, where Kirby did a music show in 2017

In December 2017, Kirby did a music show at the Kraków Barbican for the Unsound Festival in Poland. The show was his first since 2011. The show had Seal's art. It also had Weirdcore's visuals.[101][102][103] The music videos would be presented throughout the Caretaker's following shows. In March 2018, Kirby was featured at Festival Présences électronique [fr] in Paris,[104] where he played a version of the 1944 song "Ce Soir" by singer Tino Rossi.[57] He participated at Unsound's May 2019 "Solidarity" show, also set in Krakow.[105] In April 2020, he was supposed to do a music show live for the "[Re]setting" Rewire Festival. It would have occurred at the Hague in the Netherlands. The show was cancelled due to the COVID-19 pandemic.[106][107] Kirby later did a music show at Krems' Donaufestival on 7 May 2022. Kirby did a music show at Barcelona's Primavera Sound on 4 June 2022.[108][109] Although he previously expressed hesitation to do a music show,[2] Kirby said each show would now be "a battle to make sense from the confusion". He added that Weirdcore would bring Seal's paintings "alive". He also added that the visual art would explore the idea of making the audience "feel ill".[61]

Critical reception

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Professional ratings
Review scores
SourceRating
AllMusic      (Stages 1–3)[34]
      (Stages 4–6)[47]
Ondarock [it]9/10 (Stage 1)[38]
8/10 (Stage 6)[53]
Pitchfork7.3/10 (Stage 1)[31]
7.9/10 (Stage 4)[27]
Resident Advisor4.3/5 (Stage 6)[26]
Tiny Mix Tapes4/5 (Stage 1)[36]
3.5/5 (Stage 2)[40]
4.5/5 (Stage 4)[70]
3.5/5 (Stage 5)[48]
4.5/5 (Stage 6)[51]

Everywhere at the End of Time received increasingly positive reactions as it progressed. It was, overall, met with critical acclaim.[1][19] While Stage 1 was criticized by some critics for "romanticizing" dementia, this criticism faded with time. One writer theorized that Kirby's expansion on the themes of An Empty Bliss was due to its concept being "loaded beyond the capacities of a 40-some-minute ambient record".[14] In March 2021, it peaked as the best-selling album on Boomkat,[110] the platform Kirby uses for his physical releases.[5] On Bandcamp, Everywhere remains the best-selling dark ambient album of all time.[111] Kirby, responding to "today's culture of instant reaction" said these parts have been repeated for a specific reason which would become more clear later on.[1]

The first three stages of the series were criticized for their representation of dementia. Pitchfork contributor Brian Howe was concerned that the first stage may be a romanticized, if not exploitative, view of a mental illness. He found Kirby's description inaccurate. Howe "watched [his] grandmother succumb to it for a decade before she died, and it was very little like a 'beautiful daydream.' In fact, there was nothing aesthetic about it."[31] Pat Beane of Tiny Mix Tapes considered Stage 1.[36] Falisi regarded Stage 2 as neither "decay or beauty", "diagnosis or cure".[40] Hazelwood described Stage 3 as Kirby's default "bag of tricks". They argued that the transition into Stage 4 would not have the impact that it does without the previous stages. It would also not have the impact that it does without those stages' comforts.[10]

The last three stages' representation of dementia was generally described as better. Pitchfork contributor Miles Bowe described Stage 4 as avoiding "a risk of pale romanticization".[27] Goldner felt that the album had "broken the loop". He added that "I1 - Stage 4 Temporary Bliss State" is not "real dementia".[70] Falisi, writing about Goldner, considered such loop in Stage 5 to be "unspooling (endlessly) off the capstans and piling up until new shapes form." He described the album's sound as "the uncanny choke of absence". He argued, "If the thing is gone, why do I still feel it?"[48] Characterizations of Stage 6 ranged from "a mental descent rendered in agonizingly slow motion" to "something extra-ambient whose aches are of the cosmos."[26][51] Commentators often described Stage 6 with additional praise. One called it a "jaw-dropping piece of sonic art" with "a unique force".[26][112]

Critics have also commented on the interpretative, "thought-provoking" feelings evoked by the series as a whole.[21][113] Dave Gurney of Tiny Mix Tapes called the compilation "disturbing".[114] Hazelwood said that its music "sticks with you, its melodies haunting and infecting."[10] Luka Vukos, in his review for the blog HeadStuff, argued that the "empathy machine" of the series "is characterized not by words". Its power "rests in [Kirby's] marrying of [the vinyl record] with the most contemporary modes of digital recall and manipulation."[3] Having written about some of Kirby's earlier music, Simon Reynolds said the Caretaker "could have renamed himself the Caregiver, for on this project he resembles a sonic nurse in a hospice for the terminally ill." In his opinion, Kirby's names for the songs are "heartbreaking. The names of the songs often describe the music more effectively than the reviewer ever could."[4]

Accolades

change

Everywhere at the End of Time appeared the most on year-end lists of The Quietus and Tiny Mix Tapes. The latter reviewed each album, except for Stage 3. Tiny Mix Tapes gave the first, fourth and sixth stages the "EUREKA!" award, given to albums "explor[ing] the limits of noise and music". The award is also given to albums that are "worthy of careful consideration".[36][51][70] Resident Advisor included Stage 6 in its listing of 2019's best albums.[115] Quietus contributor Maria Perevedentseva chose "We Don't Have Many Days" as one of the best songs of 2016.[116] Stage 5 would later be included in the publication's listing of the best music of September 2018.[117] Stage 6 was named the website's "Lead Review" of the week. It was also named the best "miscellaneous" album of 2019.[19][118]

Accolades for Everywhere at the End of Time
Album Year Publication List Rank Ref.
Stage 1 2016 The Quietus Year-end 16 [119]
Tiny Mix Tapes 35 [120]
Stage 2 2017 The Quietus Semester-end 88 [121]
Stage 3 Year-end 39 [122]
Stage 4 2018 Tiny Mix Tapes 26 [123]
The Quietus Semester-end 37 [124]
Stage 5 Year-end 45 [125]
Stage 6 2019 Semester-end 59 [126]
Obscure Sound Year-end 19 [6]
Ondarock [it] 38 [127]
Il Giornale della Musica [it] 12 [128]
Stages 1–6 A Closer Listen Decade-end 4 [129]
Tiny Mix Tapes 41 [114]
Ondarock 42 [130]
Spex 133 [131]
Stages 4–6 The Wire Year-end 35 [132]

Impact and popularity

change

Considered some of the best albums of the 2010s,[114][133] Everywhere at the End of Time is regarded by several critics and musicians as Kirby's magnum opus.[134][135][136] One reviewer singled out the two penultimate stages, the most chaotic ones, as making listeners reflect on the feeling of having dementia.[25] Everywhere's conceptualization also received acclaim. The representation of dementia was described by The Vinyl Factory as "remarkably emotive". The representation of dementia was described by Vogue's Corey Seymour as "life-changing".[8][137] Tiny Mix Tapes writer Jessie Dunn Rovinelli said Stage 6's "corny" ending gives "the release his concept might want to refuse but that our decaying, sappy minds want."[138] Given ideas from the Caretaker,[139] the fan-made 100-song album Memories Overlooked was made available in 2017 by vaporwave musicians whose elder relatives had dementia.[16][140][141] Daily Record writer Darren McGarvey claimed he felt "struck by a deep sense of gratitude" after finishing Everywhere, stating that is the "power of a proper piece of art".[142] Author Cole Quinn called Everywhere the greatest album of all time.[33]

 
The album cover of Memories Overlooked (2017)
 
Text from the thumbnail of a YouTube video about Everywhere
In 2017, various vaporwave musicians released the seven-hour-long compilation album Memories Overlooked in tribute of the Caretaker alias.[141] In 2020, Internet users popularised the series for its 'breaking' reflection of dementia, resulting in the creation of creepypasta and meme-related content.[14]

In January 2020, YouTuber Solar Sands uploaded the video "Can You Name One Object In This Photo?". The video explores the aspects of Seal's work in Everywhere.[21] It received over four million views as of 5 November 2024.[143] Later in October, users on the social media platform TikTok created a challenge of listening to the entire series in one sitting, due to its long length. It was also due to its existential themes.[144][145][146] Kirby knew about the phenomenon from an exponential growth of views on the series' YouTube upload (over 32 million as of 5 November 2024).[5] Only 12% of them came from the platform's algorithm. Direct searches made up over 50%.[133][147] In a video some writers hypothesized as the cause of Everywhere's popularity, YouTuber A Bucket of Jake called the series the scariest album he had ever listened to.[14][148][149] Following its popularity, the series appeared often on Bandcamp's ambient recommendations.[150]

Some TikTok users shared made-up creepypasta stories of the series with claims that it cures patients or, on the other hand that it introduces symptoms of dementia in people.[13][151] The claims triggered a negative backlash from others, who felt it offended patients. The listening challenge also triggered a negative backlash.[13][14][148] Kirby did not feel this way. He instead saw the series as giving teenagers "an understanding into the symptoms a person with dementia may face."[133][147] Lazlo Rugoff of the Vinyl Factory found the TikTok phenomenon drew "an unlikely audience" of teenagers to Kirby's music.[144] Everywhere was later called by TikTok's William Gruger a niche discovery. Everywhere was called an "unexpected hit" by him.[152] The series has seen continued use as a meme throughout the early 2020s, coinciding with the period of the COVID-19 pandemic. This also coincided with its mental health issues on teenagers.[13][14]

In 2021, Everywhere gained attention among the modding community of the rhythm game Friday Night Funkin' (2020) with the mod Everywhere at the End of Funk. Wren Romero of esports group Gamurs described the mod as one of the most unique experiences of any FNF mod. [153] The series was also popularized for its relation to the Backrooms, a creepypasta about an endless empty office space. Writer Silvia Trevisson said it stemmed from their similar representations of absurd states of mind.[154]

Scientific response

change

Within neurological research groups, Everywhere at the End of Time has been seen as a generally positive influence. One Iowa State University researcher found the series to present the "chilling reality" of Alzheimer's disease, highlighting the slow development of calmness into confusion.[155] Brian Browne, the president of Dementia Care Education, said Kirby's representation of Alzheimer's disease is "a much welcome thing" to caretakers of dementia patients. He said good things about the series' newfound attention. This is because "it produces the empathy that's needed."[13]

Browne concludes:

The composer of this music really was onto something in terms of being able to — through the medium of music — lead a younger generation on a journey through the sounds of what the brain is going through, through a dementing process.

Partially positive of Kirby's work, French neuropsychologist Hervé Platel said good things about Everywhere's approach and general faithfulness to the process of dementia. However, Platel also criticized the series for giving the impression of memory as a linear system, explaining that musical memory is the last to fade away.[156]

Track listing

change

Adapted from Bandcamp.[15] Total lengths and notes adapted from Kirby's YouTube uploads of Stages 1–3,[95][96][157] Stages 4–6,[49][158][159] and the complete edition.[5]

Stage 1
No. Title Length
1. "A1 – It's just a burning memory"   3:32
2. "A2 – We don't have many days"   3:30
3. "A3 – Late afternoon drifting"   3:35
4. "A4 – Childishly fresh eyes"   2:58
5. "A5 – Slightly bewildered"   2:01
6. "A6 – Things that are beautiful and transient"   4:34
7. "B1 – All that follows is true"   3:31
8. "B2 – An autumnal equinox"   2:46
9. "B3 – Quiet internal rebellions"   3:30
10. "B4 – The loves of my entire life"   4:04
11. "B5 – Into each others eyes"   4:36
12. "B6 – My heart will stop in joy"   2:41
Total length:
 41:17
Stage 2
No. Title Length
13. "C1 – A losing battle is raging"   4:37
14. "C2 – Misplaced in time"   4:42
15. "C3 – What does it matter how my heart breaks"   2:37
16. "C4 – Glimpses of hope in trying times"   4:43
17. "C5 – Surrendering to despair"   5:03
18. "D1 – I still feel as though I am me"   4:07
19. "D2 – Quiet dusk coming early"   3:36
20. "D3 – Last moments of pure recall"   3:52
21. "D4 – Denial unravelling"   4:16
22. "D5 – The way ahead feels lonely" (titled "The Away [sic] Ahead Feels Lonely" on Weirdcore's video) 4:15
Total length:
 41:48
Stage 3
No. Title Length
23. "E1 – Back there Benjamin"   4:14
24. "E2 – And heart breaks"   4:05
25. "E3 – Hidden sea buried deep"   1:20
26. "E4 – Libet's all joyful camaraderie"   3:12
27. "E5 – To the minimal great hidden"   1:41
28. "E6 – Sublime beyond loss"   2:10
29. "E7 – Bewildered in other eyes" (titled "Bewildered in Others Eyes" on the Stage 3 Boomkat page) 1:51
30. "E8 – Long term dusk glimpses"   3:33
31. "F1 – Gradations of arms length"   1:31
32. "F2 – Drifting time misplaced" (titled "Drifting time replaced" on the Stage 3 YouTube upload) 4:15
33. "F3 – Internal bewildered World"   3:29
34. "F4 – Burning despair does ache"   2:37
35. "F5 – Aching cavern without lucidity"   1:19
36. "F6 – An empty bliss beyond this World"   3:36
37. "F7 – Libet delay"   3:57
38. "F8 – Mournful cameraderie [sic]"   2:39
Total length:
 45:29
Stage 4
No. Title Length
39. "G1 – Stage 4 Post Awareness Confusions"   22:09
40. "H1 – Stage 4 Post Awareness Confusions"   21:53
41. "I1 – Stage 4 Temporary Bliss State"   21:01
42. "J1 – Stage 4 Post Awareness Confusions"   22:16
Total length:
 87:19
Stage 5
No. Title Length
43. "K1 – Stage 5 Advanced plaque entanglements"   22:35
44. "L1 – Stage 5 Advanced plaque entanglements"   22:48
45. "M1 – Stage 5 Synapse retrogenesis"   20:48
46. "N1 – Stage 5 Sudden time regression into isolation"   22:08
Total length:
 88:19
Stage 6
No. Title Length
47. "O1 – Stage 6 A confusion so thick you forget forgetting" (excludes the "A" on Boomkat) 21:52
48. "P1 – Stage 6 A brutal bliss beyond this empty defeat"   21:36
49. "Q1 – Stage 6 Long decline is over"   21:09
50. "R1 – Stage 6 Place in the World fades away"   21:19
Total length:
 85:56

Personnel

change

Credits adapted from YouTube.[5]

Release history

change

All made available worldwide by record label History Always Favours the Winners.

Stages 1–3
Date Format Catalog number Ref.
12 October 2017
HAFTWCD0103 [160]
7 April 2019 Triple LP HAFTW025026027-SET [161]
Stages 4–6
Date Format Catalog number Ref.
14 March 2019
  • Quadruple CD
  • digital download
 HAFTWCD0406 [162]
Sextuple LP HAFTW028029030-SET [163]

See also

change

Notes

change
  1. ↑ Stylised in sentence case on Bandcamp.
  2. ↑ Lyrics from "Heartaches" (1931).
  3. ↑ French for "It's all over."
  4. ↑ German for "Just Let Me Kiss Him One More Time".

References

change
  1. ↑ 1.00 1.01 1.02 1.03 1.04 1.05 1.06 1.07 1.08 1.09 1.10 1.11 1.12 1.13 1.14 Doran, John (22 September 2016). "Interview | Out Of Time: Leyland James Kirby And The Death Of A Caretaker". The Quietus. Archived from the original on 8 August 2022. Retrieved 7 April 2021.
  2. ↑ 2.00 2.01 2.02 2.03 2.04 2.05 2.06 2.07 2.08 2.09 Parks, Andrew (17 October 2016). "Leyland Kirby on The Caretaker's New Project: Six Albums Exploring Dementia". Bandcamp Daily. Archived from the original on 19 April 2021. Retrieved 19 February 2021.
  3. ↑ 3.0 3.1 3.2 3.3 Vukos, Luka (22 June 2021). "Remembering | The Caretaker & Everywhere at the End Of Time". HeadStuff. Archived from the original on 23 June 2021. Retrieved 24 June 2021.
  4. ↑ 4.0 4.1 Reynolds, Simon (June 2019). "Daring to decay, two hauntological guides call time on their longrunning projects". The Wire. No. 424. Exact Editions. p. 54, para. 5–6. Retrieved 29 June 2021.
  5. ↑ 5.00 5.01 5.02 5.03 5.04 5.05 5.06 5.07 5.08 5.09 5.10 5.11 5.12 Kirby, Leyland (14 March 2019). "The Caretaker – Everywhere At The End Of Time – Stages 1–6 (Complete)". vvmtest. Archived from the original on 10 September 2021. Retrieved 10 September 2021 – via YouTube.
  6. ↑ 6.0 6.1 Mineo, Mike (17 December 2019). "Best Albums of 2019: #20 to #11". Obscure Sound. sec. 19. The Caretaker – Everywhere at the End of Time – Stage 6. Archived from the original on 14 June 2021. Retrieved 14 June 2021.
  7. ↑ Studarus, Laura (26 May 2017). "Big Ups: Sondre Lerche". Bandcamp Daily. sec. The Caretaker. Archived from the original on 9 July 2021. Retrieved 8 July 2021.
  8. ↑ 8.0 8.1 "The 10 best new vinyl releases this week". The Vinyl Factory. 18 March 2019. sec. The Caretaker – Everywhere at the end of time – Stage 6. Archived from the original on 28 June 2021. Retrieved 28 June 2021.
  9. ↑ Falisi, Frank (8 December 2017). "2017: Superficial Temporal". Tiny Mix Tapes. sec. Dementia / Everywhere at the End of Time. Archived from the original on 6 May 2021. Retrieved 5 May 2021.
  10. ↑ 10.00 10.01 10.02 10.03 10.04 10.05 10.06 10.07 10.08 10.09 10.10 10.11 10.12 10.13 10.14 10.15 10.16 10.17 10.18 10.19 10.20 10.21 10.22 10.23 Hazelwood, Holly (18 January 2021). "Rediscover: The Caretaker: Everywhere at the End of Time". Spectrum Culture. Archived from the original on 29 January 2021. Retrieved 4 March 2021.
  11. ↑ Weiss, Alexandra (2019). "(Not) Looking Back, Looking Forward: Post- and Future Memory in Everywhere at the End of Time". Journal of Literature and Trauma Studies. 8 (2). Project MUSE: 101–114. doi:10.1353/jlt.2019.0009. S2CID 252520845. Retrieved 12 November 2022 – via DOI.
  12. ↑ Beane, Pat; Scavo, Nick James (13 December 2016). "2016: A Musicology Of Exhaustion". Tiny Mix Tapes. p. 1, sec. Resting Face: Avatar OST. Archived from the original on 5 May 2021. Retrieved 5 May 2021.
  13. ↑ 13.0 13.1 13.2 13.3 13.4 Ezra, Marcus (23 October 2020). "Why Are TikTok Teens Listening to an Album About Dementia?". The New York Times. Archived from the original on 8 April 2021. Retrieved 21 April 2021.
  14. ↑ 14.0 14.1 14.2 14.3 14.4 14.5 14.6 Garvey, Meaghan (22 October 2020). "What Happens When TikTok Looks To The Avant-Garde For A Challenge?". NPR. Archived from the original on 21 April 2021. Retrieved 6 April 2021.
  15. ↑ 15.0 15.1 15.2 15.3 Kirby, Leyland (22 September 2016). "Everywhere at the end of time". Bandcamp. Archived from the original on 11 May 2021. Retrieved 14 May 2021.
  16. ↑ 16.0 16.1 Bowe, Miles; Welsh, April Clare; Lobenfeld, Claire (6 December 2017). "The 20 best Bandcamp releases of 2017". Fact. sec. Various Artists – Memories Overlooked: A Tribute To The Caretaker. Archived from the original on 3 June 2021. Retrieved 3 June 2021.
  17. ↑ Nove, Sarah (9 February 2021). "Everywhere at the End of Time: Art transcending aura". Uwire Text. UWIRE. p. 1. Retrieved 14 February 2022 – via Gale Academic OneFile.
  18. ↑ Mitchell, Matt (11 October 2021). "I Feel As If I Might Be Vanishing: The Caretaker's An empty bliss beyond this World". Bandcamp Daily. para. 11. Archived from the original on 11 October 2021. Retrieved 6 March 2022.
  19. ↑ 19.0 19.1 19.2 19.3 19.4 19.5 19.6 19.7 "The Echoes Of Anxiety: The Caretaker's Final Chapter". The Quietus. 14 March 2019. Archived from the original on 11 August 2022. Retrieved 31 March 2021.
  20. ↑ Sloth, Beach (22 October 2017). "The Caretaker – Everywhere At The End Of Time – Stage 3". Entropy. Archived from the original on 12 April 2020. Retrieved 15 March 2022.
  21. ↑ 21.0 21.1 21.2 Nixon, Luke (12 April 2021). "Beyond representation: Music, language, and mental life". Simon Fraser University. pp. 104–109. Retrieved 24 July 2022.
  22. ↑ Colquhoun, Matt (15 March 2020). "Music Has The Right To Children: Reframing Mark Fisher's Hauntology". The Quietus. Archived from the original on 18 March 2020. Retrieved 9 June 2021.
  23. ↑ Lore, Adrian Mark; Savage, Andrea (25 October 2016). "The Caretaker, Memory Loss and the End of Time The Suburbs': A Majestic Drive Down Memory Lane". Uwire Text. UWIRE. p. 1. Retrieved 14 February 2022 – via Gale Academic OneFile.
  24. ↑ Nelson, Andy (3 May 2017). "Big Ups: Ceremony Pick Their Favorite Bands". Bandcamp Daily. sec. The Caretaker, Everywhere at the End Of Time. Archived from the original on 8 June 2021. Retrieved 8 June 2021.
  25. ↑ 25.0 25.1 25.2 Otis, Erik (19 December 2018). "Best of 2018: Releases". XLR8R. sec. The Caretaker Everywhere at the End of Time Stage 4 & 5. Archived from the original on 29 June 2021. Retrieved 29 June 2021.
  26. ↑ 26.0 26.1 26.2 26.3 26.4 26.5 26.6 Ryce, Andrew (12 April 2019). "The Caretaker – Everywhere At The End Of Time (Stage 6) Album Review". Resident Advisor. Archived from the original on 13 April 2019. Retrieved 31 March 2021.{{cite web}}: CS1 maint: unfit URL (link)
  27. ↑ 27.0 27.1 27.2 27.3 27.4 27.5 27.6 Bowe, Miles (26 April 2018). "The Caretaker: Everywhere at the End of Time – Stage 4 Album Review". Pitchfork. Archived from the original on 20 March 2021. Retrieved 13 March 2021.
  28. ↑ Holger Schulze, ed. (2020). The Bloomsbury Handbook of the Anthropology of Sound. Bloomsbury Publishing. p. 475. ISBN 9781501335419.
  29. ↑ Forster, Si (October 2016). "The Caretaker – Everywhere at the End of Time, Stage 1". Echoes and Dust. Archived from the original on 14 October 2016. Retrieved 27 March 2022.
  30. ↑ 30.0 30.1 Padua, Pat (23 January 2017). "The Caretaker: Everywhere at the End of Time Music Review". Spectrum Culture. Archived from the original on 13 April 2021. Retrieved 5 March 2021.
  31. ↑ 31.0 31.1 31.2 Howe, Brian (7 October 2016). "The Caretaker: Everywhere at the End of Time Album Review". Pitchfork. Archived from the original on 21 April 2021. Retrieved 21 April 2021.
  32. ↑ Bowe, Miles (4 October 2016). "The Best Of Bandcamp: Odwalla88 is the best new band of the year". Fact. sec. The Caretaker – Everywhere at the End Of Time. Archived from the original on 5 May 2021. Retrieved 4 May 2021.
  33. ↑ 33.0 33.1 33.2 Quinn, Cole (29 April 2021). "We found the greatest: Everywhere at the End of Time". Uwire Text. UWIRE. p. 1. Retrieved 14 February 2022 – via Gale Academic OneFile.
  34. ↑ 34.0 34.1 34.2 34.3 Simpson, Paul. "Everywhere at the End of Time: Stages 1–3 – The Caretaker | Songs, Reviews, Credits". AllMusic. Archived from the original on 8 March 2022. Retrieved 8 March 2022.
  35. ↑ Doran, John (7 October 2016). "The Best New Music You Missed In September". The Quietus. sec. The Caretaker – Everywhere at the End Of Time. Archived from the original on 8 September 2022. Retrieved 8 June 2021.
  36. ↑ 36.0 36.1 36.2 36.3 36.4 36.5 Beane, Pat (7 November 2016). "The Caretaker – Everywhere at the end of time | Music Review". Tiny Mix Tapes. Archived from the original on 23 April 2021. Retrieved 6 April 2021.
  37. ↑ Restrepo, Alejandro Muriel; Suárez, Mateo Alejandro Duque (2022). "Inmerso: EP conceptual inspirado en la despolarización atentiva" [Immersed: concept EP inspired by attentive depolarization] (in Spanish). Instituto Tecnológico Metropolitano de Medellín [es]. p. 7. hdl:20.500.12622/5699. Retrieved 1 October 2022 – via Handle System.
  38. ↑ 38.0 38.1 Palozzo, Michele (7 October 2016). "The Caretaker – Everywhere At The End Of Time :: Le Recensioni (Review)". Ondarock [it] (in Italian). Archived from the original on 3 May 2021. Retrieved 27 May 2021.
  39. ↑ Beane, Pat (6 April 2017). "The Caretaker releases Stage 2 of his six-part series on dementia, Everywhere at the end of time". Tiny Mix Tapes. Archived from the original on 5 May 2021. Retrieved 5 May 2021.
  40. ↑ 40.0 40.1 40.2 40.3 40.4 Falisi, Frank (17 April 2017). "The Caretaker – Everywhere at the end of time – Stage 2 | Music Review". Tiny Mix Tapes. Archived from the original on 26 April 2021. Retrieved 9 April 2021.
  41. ↑ Magnusson, Sally (2014). "All this ought to be written down". Where memories go : why dementia changes everything. London. Your dementia is getting worse and the way ahead feels lonely. ISBN 978-1-4447-5178-9. OCLC 864789208.{{cite book}}: CS1 maint: location missing publisher (link)
  42. ↑ Ryce, Andrew (6 April 2017). "The Caretaker releases Stage 2 of album series, Everywhere At The End Of Time". Resident Advisor. Archived from the original on 5 May 2021. Retrieved 5 May 2021.
  43. ↑ Hoffman, K. Ross (26 September 2016). "Now Hear This: New music from Jenny Hval, Xenia Rubinos, Emma Ruth Rundle and more". PhillyVoice. 5. The Caretaker, 'It's just a burning memory'. Archived from the original on 27 September 2016. Retrieved 23 March 2022.
  44. ↑ Coral, Evan (3 July 2018). "2018: Second Quarter Favorites". Tiny Mix Tapes. p. 4, sec. The Caretaker – Everywhere at the end of time – Stage 4. Archived from the original on 9 May 2021. Retrieved 8 June 2021.
  45. ↑ Bowe, Miles (6 April 2018). "The Caretaker releases Mark Fisher tribute and Everywhere at the end of time: Stage Four". Fact. Archived from the original on 8 June 2021. Retrieved 8 June 2021.
  46. ↑ Pearl, Max (5 April 2018). "The Caretaker releases Stage 4 of album series, Everywhere At The End Of Time". Resident Advisor. Archived from the original on 6 May 2021. Retrieved 5 May 2021.
  47. ↑ 47.0 47.1 47.2 47.3 Simpson, Paul. "Everywhere at the End of Time: Stages 4–6 – The Caretaker | Songs, Reviews, Credits". AllMusic. Archived from the original on 8 March 2022. Retrieved 8 March 2022.
  48. ↑ 48.0 48.1 48.2 Falisi, Frank (24 October 2018). "The Caretaker – Everywhere at the end of time – Stage 5 | Music Review". Tiny Mix Tapes. Archived from the original on 21 April 2021. Retrieved 6 April 2021.
  49. ↑ 49.0 49.1 Kirby, Leyland (20 September 2018). "The Caretaker – Everywhere At The End Of Time – Stage 5 (Full Album)". vvmtest. 19:11. Archived from the original on 3 June 2021. Retrieved 18 May 2021 – via YouTube.
  50. ↑ Ju, Esther (22 February 2021). "Casual Cadenza: Everywhere at the End of Time". Uwire Text. UWIRE. p. 1. Retrieved 14 February 2022 – via Gale Academic OneFile.
  51. ↑ 51.0 51.1 51.2 51.3 51.4 Falisi, Frank (30 April 2019). "The Caretaker – Everywhere at the end of time – Stage 6 | Music Review". Tiny Mix Tapes. Archived from the original on 23 April 2021. Retrieved 6 April 2021.
  52. ↑ Heffernan, Virginia (17 June 2021). "On Microphones, Music, and Our Long Year of Screen Time". Wired. para. 10–11. Archived from the original on 17 June 2021. Retrieved 27 March 2022.
  53. ↑ 53.0 53.1 Silvestri, Antonio (12 November 2019). "The Caretaker – Everywhere At The End Of Time – Stage 6 :: Le Recensioni (Review)". Ondarock [it] (in Italian). Archived from the original on 12 May 2021. Retrieved 27 May 2021.
  54. ↑ McCartan, Liam (June 2021). "Composing in and out of the (Post-)Club" (PDF). Queen's University Belfast. p. 27. Retrieved 2 October 2022.
  55. ↑ Dunn, Parker (26 September 2020). "Everywhere at the End of Time Depicts the Horrors of Dementia Through Sound". Uwire Text. UWIRE. p. 1. Retrieved 14 February 2022 – via Gale Academic OneFile.
  56. ↑ Le, Tam-Tri (23 September 2021). "Terminal lucidity: mysteries at the end of life". Centre for Interdisciplinary Social Research. p. 2, para. 6. Retrieved 31 March 2022.
  57. ↑ 57.0 57.1 Bazin, Alexandre (9 May 2018). "The Caretaker_PRESENCES électronique 2018". INA grm. 3:36. Archived from the original on 15 May 2021. Retrieved 16 July 2021 – via YouTube.
  58. ↑ 58.0 58.1 58.2 58.3 58.4 58.5 58.6 58.7 Bates, Landon (18 September 2018). "The Process: The Caretaker". The Believer. Archived from the original on 13 May 2021. Retrieved 7 April 2021.
  59. ↑ Lubich, Andreas. "Loop_O". Archived from the original on 16 December 2021. Retrieved 14 February 2022.
  60. ↑ 60.0 60.1 Lore, Adrian Mark (17 November 2017). "Where are they now? Where aren't they yet? Catching up with Leyland Kirby". Uwire Text. UWIRE. p. 1. Retrieved 14 February 2022 – via Gale Academic OneFile.
  61. ↑ 61.0 61.1 61.2 61.3 61.4 Melfi, Daniel (7 October 2019). "Leyland James Kirby On The Caretaker, Alzheimer's Disease And His Show At Unsound Festival". Telekom Electronic Beats. Archived from the original on 2 January 2021. Retrieved 19 February 2021.
  62. ↑ 62.0 62.1 Tan, Declan (10 March 2018). "The Noise In-Between: An Interview With Ivan Seal". The Quietus. para. 19. Archived from the original on 18 September 2022. Retrieved 9 June 2021.
  63. ↑ 63.0 63.1 63.2 Battaglia, Andy (14 November 2019). "In Abandoned 14th-Century Building in Poland, a Painting Show Where the Art Aims to Disappear". ARTnews. Archived from the original on 21 April 2021. Retrieved 8 April 2021.
  64. ↑ Andersson, Oliver; Johansen, Malin (31 August 2021). "Hur kan demens illustreras bättre inom film?: En studie om att visualisera det icke-visuella" [How can dementia be better illustrated in film?: A study of visualizing the non-visual] (in Swedish). Blekinge Institute of Technology. p. 5. Retrieved 1 October 2022 – via DiVA.
  65. ↑ 65.0 65.1 65.2 65.3 65.4 65.5 65.6 Leahy, Sydney (8 May 2021). "Everywhere at The End of Time". Teen Ink. Archived from the original on 11 May 2021. Retrieved 14 February 2022.
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  113. ↑ Schofield, Michael Peter (2019). "Re-Animating Ghosts: Materiality and Memory in Hauntological Appropriation". International Journal of Film and Media Arts. Repositório Científico Lusófona (Lusophone Scientific Repository). p. 4. Retrieved 24 July 2022.
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