Zhir Vengersky’s Farewell, My Lovely isn’t just an album; it’s a fractured mirror reflecting hypnagogic states, decaying memories, and the blurry line between sincerity and simulation. Across ten tracks, Vengersky channels art punk, no wave, and avant-garage into something both alien and intimately human. The album refuses to cater to cohesion, and that’s its power.
Built on a foundation of anti-deliberation (“Deliberation is the enemy of the process,” the artist claims), Farewell, My Lovely plays like a sonic hallucination: dissonant guitars barely moving, warbled analog synths surging like corrupted memories, and vocals that tremble between theatrical and tragic.
Tracks unfold with the eerie weight of forgotten dreams or late-night train rides through cities that may not exist.
While earlier work showed compositional precision, here, Vengersky strips intention to the bone. The result is primal, improvisational, yet emotionally sharp. References to Raymond Chandler, anime idols, and liminal spaces aren’t mere quirks; they’re coordinates in an internal map where meaning emerges only through disorientation. Farewell, My Lovely is a disarmingly raw transmission from the subconscious. It’s a farewell not just to the lovely, but to clarity itself.