In-Depth Analysis of Track 3: “The Western Lands”

Track Details:
• Title: The Western Lands
• Duration: 6:12
• Featuring/Music By: Techno Animal
• Read By: Iggy Pop
• Voice: William S. Burroughs

Summary of Lyrics and Themes:
This track draws from The Western Lands, William S. Burroughs’ 1987 novel, reflecting existential themes such as mortality, the afterlife, and humanity’s longing for transcendence. Through spoken word performances by Iggy Pop and William S. Burroughs, alongside Techno Animal’s dense, experimental soundscapes, the piece becomes a profound meditation on life, death, and the human search for purpose.

Full Lyrics:
William S. Burroughs (Introduction and Philosophical Reflection):
*"Danger is a biologic necessity for men like sleep and dreams. If you face death at that time, in a period of direct confrontation, you are immortal. For the western middle classes, danger is a rarity and erupts only with a sudden, random shock. And yet we are all in danger at all times, since our death exists. Next to it is written, waiting to present the aspect of surprised recognition. Is there a technique for confronting death without immediate physical danger? Can one reach the western man without physical danger? These are the questions that Hasan Aysaba asks."*

Iggy Pop (Narrative Reflection and Biography of Hasan-i Sabbah):
*"What did Hasenai Saba find out in Egypt? He found out that the western lands exist and how to find them. This was the garden he showed his followers. What was Hasenai Saba like? Who was he? For the last 40 years of his life, Hasenai Saba occupied the mountain fortress of Alamut in what is now northern Iran. From Alamut, the old man dispatched his assassins when he decided they were ready and their missions necessary. It is said that he could reach as far as Paris. As for the training that the apprentice assassins received, there is no precise information. What little historical data survives tends to be misleading, such as the notorious account given by Marco Polo of a heaven of rubies promised to the martyr where he would be wafted when his work was done. There were no women in Alamut. It is related that Hasenai Saba had his own son beheaded for smuggling a bottle of wine into his quarters. No doubt this was not the real reason. Obviously, the boy was plotting against the old man’s life. It happens in the best eastern families. Beyond that, there is little. Did he ever tell a joke or smile or drink? Some say that in his later years he became an alcoholic and that the smuggled bottle of wine was intended for him and poisoned. Rumors. But very little of the man emerges, and what we do see is not sympathetic. One can’t help thinking of these evil old mullahs with their closed, harsh faces. I mean that his personal life, his habits, his eccentricities are completely occluded. This may well have been deliberate on his part. Oh yes, I knew him personally, but I never knew him at all. He was a man with many faces and many characters. Literally, he changed unrecognizably from one day to the next. At times, his face was possessed by a dazzling radiance of pure spirit. At other times, the harsh gray lineaments of fear and despair gave notice of defeat on some battleground of the spirit. Battles are fought to be won, and this is what happens when you lose. One thing I know, he was a frontline officer who never asked his men to do what he would not do himself. He was ready to fight beside them, inch by bloody inch."*

Introduction:
*The Western Lands* emerges as a profound exploration of the human condition. Inspired by Burroughs’ novel, the track intertwines philosophical musings on mortality with a haunting account of Hasan-i Sabbah, the leader of the Hashshashin. Iggy Pop’s evocative delivery and Techno Animal’s sonic landscape create an immersive experience, challenging listeners to confront existential truths.

Contributors:
• William S. Burroughs: A central figure of the Beat Generation, Burroughs’ reflections on mortality and control form the foundation of the track.
• Iggy Pop: Pop’s raw, gravelly voice contrasts Burroughs’ contemplative tone, bringing emotional immediacy to the historical account of Hasan-i Sabbah.
• Techno Animal: The duo of Kevin Martin and Justin Broadrick creates a dense, atmospheric soundscape, blending industrial, ambient, and dub elements to evoke tension and introspection.

Thematic Exploration:
• Mortality and Afterlife: Explores humanity’s fear of death and the unknown, symbolized by the “Western Lands” as a metaphor for the afterlife or enlightenment.
• The Enigma of Hasan-i Sabbah: Sabbah’s life is portrayed as a tapestry of contradictions—a leader, mystic, and strategist.
• Existential Reflection: The track invites introspection on life’s impermanence, urging listeners to confront their fears and seek deeper understanding.
• Critique of Control: Challenges societal structures that stifle individual exploration and autonomy.

Conclusion:
“The Western Lands” stands as a profound meditation on mortality, rebellion, and the enigmatic legacy of Hasan-i Sabbah. By intertwining Burroughs’ philosophical insights, Pop’s emotive narration, and Techno Animal’s experimental textures, the track transcends traditional storytelling. It invites listeners to confront their fears, reflect on the nature of existence, and seek their own paths to enlightenment.

Reflective Questions for the Listener:
• How does the track influence your perspective on mortality and the afterlife?
• In what ways do the spoken word performances enhance the emotional impact of the piece?
• How does the integration of experimental music shape your experience of the themes explored in the track?

By engaging with these questions, listeners can deepen their understanding of “The Western Lands” and its place within the complex narrative of “Hashisheen: The End of Law”.