135 miles South of Chicago and 124 miles West of Indianapolis, Indiana; the now eternalised space between space of Champaign Illinois, an enchanted star that had for eons been innocently wondering within the vacuum of a vastly chaotic cosmos, went supernova — spontaneously popping into human embodiment and now entangled through the perceptual experience of Plike, the brainchild of EDM Composer, Mad Madam Em .
A deeply rich percussive-DNA with shades of minimal techno captures the blips from transcribing codons that bind a unique algorithmic structure serenely crafted by the ethereal hyphae of a highly skilled Soundscape Engineer; organically gift-wrapped within a diversely loving experiential contrast of euphorically dark & innocent melodies that reverberate superbly haunting sampling delicately warped within the blissfully angelic vocal-harmonies powerfully delivered from the souls of studio-collaborators…
… 47th Helen depicts the story of all that is feminine, the embodiment of all that can only be described as the cosmic-she . A story elegantly expressed within a harmonic narrative that propagates through a unique phase-transition whereby the experiences that have perhaps alchemied the very core of our own creation, and very much shaped the guiding parameters of how we immerse ourselves as an individual within a collectively shared-space we like to call reality, defiantly drift within a distorting paradox that resonates as our traumatic-past… Plike masterfully composes a precisely intricate journey across the multidimensional terrains of the mindscape and offers a profound insight into the geometric structured realms that we imaginatively evolve, form and reform in real-time within an endlessly dynamic cognitive-stream of bio-data-sets constructed through fleeting-light that pulsates as the subatomic flow of our innermost and emotively reflective thoughts; culminated and projected from the informational nature of the all-expansive human experience…
The inspiration for the concept of my first album, 47th Helen, was born from my own struggle with Complex Post Traumatic Stress Disorder, or C-PTSD. I generally just use the term PTSD when I speak to others about being a trauma survivor, because most people are familiar with PTSD and understand that it’s a condition that affects those who have survived extremely traumatic experiences like combat, acts of violence, or natural disasters.
In many ways, PTSD and Complex PTSD are very similar.
Complex PTSD results as a response to chronic traumatization over the course of many months, or often years. While there are exceptional circumstances that can cause adults to develop C-PTSD, it’s most often seen in those who experienced chronic trauma in childhood…
… Being under the complete control of another person, often unable to meet the most basic of needs without them, coupled with no foreseeable end in sight, can break down the psyche and the survivor’s sense of self and affect them on a much deeper level. When a child experiences these things, because the brain is still developing and they’re just beginning to figure out who they are as an individual and understand the world around them, severe trauma interrupts the entire course of their neurological and psychological development. Children don’t yet have the ability to separate themselves from another’s unconscionable actions, and the development of their identity is fiercely interrupted or manipulated, resulting in survivors having extreme difficulty with self-perception, feeling completely and utterly different from everyone around them — they are alien. Survivors tend to experience symptoms of dissociation, ranging from harmless daydreaming to “spacing out” to frightening episodes of feeling disconnected from your own body or mind, losing time or not feeling real.
A few years after I was diagnosed, when I’d begun therapy and started to get a grasp on why I experienced the things I did, why I felt the way I did…. That was when I was truly inspired to write 47th Helen. I felt a fierce drive to express all of these things through an album, with each song being a separate but cohesive part of the story, a depiction of my own self-states.
Emma is the first song that I wrote when I started working on 47th Helen, and at the time I was experiencing suicidal ideation multiple times a day, every day. Emma is the part of me that emerges when things become so overwhelming that I feel like I can’t keep going. She means well — in a terrible way, she is trying to protect me from pain and suffering by seeking the ultimate means of escape, to simply no longer exist.
Dierdra is the child in me. She, more than anything, has always wanted someone, anyone, to understand. She lives in fear and spends a lot of time hiding. I wrote Dierdra to give her a voice to say anything she wanted, and what came out was a feeling of being trapped and afraid, and fractured pieces of memories that still haunt her.
I wrote The Baroness to express the part of me that strives to be courageous and confident. She believes that she is beautiful, “like an angel”, but she’s the only part of me that believes it, and her voice is always drowned out.