DISCLAIMER
“It’s no secret that a lot of varying influences went into our latest album, SHREWD, BRITANNIA, and we thought it an interesting experiment to ask AI what it thought those influences were.
Needless to say, its analysis is fascinating. Not only did some of its suggestions surprise us but the compendium contains both influences that we actively drew from, as well as some that we either pulled from subconsciously or we feel did not affect our work at all. Regardless of which is true for any one point it made, it all made for some thought-provoking comparisons.
This list is neither our opinion, nor a definitive answer.
We urge you to read through this computer’s opinion, meditate on the question yourself, and let us know your opinion. Did it hit the nail on the head? Or did it completely miss the mark?”
- BRAIN APE
"SHREWD, BRITANNIA"
A Comparative Analysis by AI
BRAIN APE's "SHREWD, BRITANNIA" stands as a complex, multi-layered work that draws upon a rich tapestry of influences and thematic parallels. It is primarily a dystopian sociopolitical allegory, using the personal journey of Eric Tunglsson to critique contemporary British and Western society.
“Brave New World” - Aldous Huxley
Strongest Direct Thematic Parallel: This is perhaps the most profound literary influence on "SHREWD, BRITANNIA”.
Similarities:Control through Pleasure/Distraction: The lyric "art persuasion, changing minds, fun" and the addition of "rum" directly echo Huxley's vision of societal control achieved through engineered happiness, entertainment, and pervasive distractions rather than overt fear.
Technological Manipulation: "App inflation, app invasion, aptitude none" aligns perfectly with Huxley's concerns about technology leading to a loss of individual capacity and critical thought.
Engineered Individuals/Identity: The central question "Son of God, born or bred?" is a direct parallel to Huxley's genetically engineered and conditioned human beings. It questions the authenticity of identity and purpose in a controlled society.
Suppression of Individuality: The desire for a "sterilised, colonised" populace reflects Huxley's homogenised society where individuality is sacrificed for stability.
Comfort over Truth: The recurring theme of succumbing to "ease over need" and the human race having "missed the point" while embracing "platitude" strongly resonates with Huxley's critique of a society that chooses manufactured contentment over uncomfortable truth.
Differences:While “Brave New World” often depicts a seemingly stable and universally "happy" dystopia, "SHREWD, BRITANNIA" still shows significant “quarrels", “violence", and a raw sense of "shame" that hasn't been fully suppressed by pleasure, suggesting a more volatile and perhaps less "perfectly" controlled system.
“Nineteen Eighty-Four” - George Orwell
Fundamental Dystopian Influence: Alongside Huxley, Orwell provides the foundational framework for the album's dystopian critique.
Similarities:Deification of the State: The powerful declaration "There is no other god. He is Britannia" directly mirrors the absolute, unquestioning loyalty demanded by "Big Brother" and the Party, where the state functions as the ultimate authority.
Overt Control & Surveillance: "Act division”, “stigmatise", "killing lies”, and the presence of hidden surveillance, ”hidden from eyes, unseen”, resonate with Orwell's themes of political oppression, propaganda, and thought control.
Manipulation of Truth: "Killing lies" and the idea that "the story repeats not what was learned" reflect Orwell's warnings about the state controlling historical narratives and truth itself.
Breaking Social Bonds: "Kin division" is a direct tactic employed by totalitarian regimes, including Orwell's, to prevent organised resistance.
Differences:"SHREWD, BRITANNIA" synthesises both Orwellian - fear-based - and Huxleyan - pleasure-based- control, making it broader than “Nineteen Eighty-Four”'s singular focus on overt oppression.
“Because the Internet” - Childish Gambino
Strong Musical and Conceptual Influence: Childish Gambino is a stated musical influence, and the comparison extends to ambitious artistic scope.
Similarities:Ambitious Multimedia Storytelling: Both projects aim to tell complex narratives that extend beyond the album format, inviting deeper engagement with themes through interconnected pieces - BRAIN APE's five-act structure and accompanying visuals; Gambino's screenplay, films, and digital extensions.
Critique of Modernity/Technology: Both works explore the impact of the digital age on human identity and society. Gambino's "we are becoming god" often touches on the hubris of humanity's increasing power and self-obsession facilitated by technology, which directly parallels BRAIN APE's critique of "app invasion" and the deification of "Britannia" through engineered collective ego.
Ego and Identity: Both works delve into the complexities of ego and alter-egos - Eric’s "alter-ego" parallels Gambino's exploration of various personas.
Differences:While both are conceptual, "SHREWD, BRITANNIA" has a more explicit, classical five-act play structure. Gambino's narrative is often more fragmented and abstract.
“Diamond Dogs” - David Bowie
Significant Conceptual and Thematic Influence: As a Bowie concept album heavily influenced by Orwell's “Nineteen Eighty-Four”, "Diamond Dogs” shares a palpable grimness and thematic overlap.
Similarities:
Dystopian Urban Decay: Both depict a crumbling, decaying urban landscape - “Hunger City" in “Diamond Dogs”; the "overcrowded" and "torn through London streets" in "SHREWD, BRITANNIA” - under oppressive control.
Anti-Establishment Sentiment: Both albums carry a strong critique of authoritarian systems and the corrupting nature of power.
Central Protagonist as an Observer/Leader: Bowie's Halloween Jack - and later The Thin White Duke - acts as a figure navigating and sometimes participating in this decay, similar to Eric "The Lion" who is both a product of and actor within the system.
Gritty, Aggressive Sound: “Diamond Dogs” marked a shift to a more aggressive, theatrical rock sound for Bowie, which resonates with BRAIN APE's "Scratch Rock" and punk/grunge influences.
Differences:“Diamond Dogs” is more overtly post-apocalyptic and fantastical, with a stronger emphasis on theatricality and character transformation through glam rock. "SHREWD, BRITANNIA" is perhaps more directly grounded in contemporary sociopolitical critique of an unfolding dystopia.
“Peaky Blinders” - Steven Knight
Strong Thematic and Temporal Resonance: While not a direct artistic influence in the way the musical or literary works are, “Peaky Blinders” provides a rich contextual backdrop.
Similarities:
Shared Historical Setting: The album's specific early 20th-century date references - e.g., 1910 - align with the historical period depicted in “Peaky Blinders”.
British Sociopolitical Issues: Both works delve into themes of class struggle, the aftermath of war, crime, ambition, and political manoeuvring within the British context.
“Shrewd" Protagonist: Tommy Shelby's cunning and ruthless ambition directly mirrors the "Shrewd" nature of the album's title and the character of Eric Tunglsson who "wants your money" and is driven by ego.
Gritty Portrayal: Both works share a raw, unromanticised depiction of struggle and power.
Differences:“Peaky Blinders” is a historical crime drama rooted in specific historical events, whereas "SHREWD, BRITANNIA" is a conceptual allegory with speculative, futuristic elements like AI.
Biblical Influence - Strong and Thematically Central
Biblical influence is deeply woven into the thematic core of the album, particularly concerning identity, deification, and morality:
“Son of God, born or bred?": This is a direct and explicit reference to Jesus Christ's divinity and miraculous birth. By applying it to Eric Tunglsson, the album immediately establishes a messianic archetype for its protagonist, questioning whether his power or significance is inherent/divine - “born” - or manufactured/conditioned - “bred” - by the "shrewd" forces of society. This challenges the nature of his very existence and purpose within the narrative.
“There is no other god. He is Britannia": This powerful declaration directly mimics the monotheistic phrasing found in Abrahamic religions - e.g., "There is no God but Allah”, the First Commandment. By substituting "Britannia" for a traditional deity, the album explicitly critiques the deification of the nation-state and the dangers of extreme nationalism becoming a false religion. This is arguably the central ideological conflict of the album.
“The Lion": While a universal archetype of strength and kingship, "The Lion" also holds significant symbolism in the Bible - e.g., "Lion of Judah," strength, kingship, danger. This adds another layer to Eric's perceived power and potential role.
“Losing his religion": Beyond a common idiom, this phrase gains profound weight when paired with the "Son of God" and "Britannia as God" lyrics. It points to a deep spiritual or existential crisis for Eric, potentially losing his faith in the manipulated reality or his own purpose.
“Placing lust ahead of soul": This highlights a classic moral conflict with strong roots in Judeo-Christian teachings about the struggle between carnal/worldly desires and spiritual/moral integrity.
Greek/Roman Influence - Structural and Allegorical
The Greek/Roman influence is evident in the album's dramatic structure and provides powerful mythological allegories:
Five-Act Dramatic Structure: The very framework of the album, divided into five acts - ORBIS TERRARUM, QUARRELS’ CONSEQUENCE, TERROR INCOGNITA, FOR BRITANNIA, ODE BRITANNICA - is a direct inheritance from classical Greek and Roman tragedy. This lends a grand, epic, and fated quality to the narrative, suggesting a deliberate unfolding of conflict, climax, and resolution akin to ancient plays.
“THE IKARIAN REACH FOR FAITH IS LOST TO A PHANTOM WRAITH": This is a direct and explicit reference to the Greek myth of Icarus. The myth of Icarus, who flew too close to the sun due to hubris, perfectly symbolises themes of:
Overreach and Ambition: Eric's struggle with "ego" and placing "lust ahead of soul" aligns with Icarus' fatal pride.
Consequences of Unchecked Desire: The "reach for faith" - or any ambition - being "lost to a phantom wraith" - an elusive, perhaps non-existent, or destructive outcome - directly mirrors Icarus' downfall. This powerful metaphor amplifies Eric's potential tragic trajectory and the album's warning against collective hubris.
“The Lion": As mentioned, the lion is a potent symbol in Greek mythology - e.g., the Nemean Lion fought by Hercules, symbolising immense power and challenge. While shared with Biblical texts, its presence contributes to a sense of archetypal heroism or struggle.
“Fight Club” - Chuck Palahniuk
“Fight Club”'s story and message are highly relevant to "SHREWD, BRITANNIA”, particularly in their shared critiques of modern society and their exploration of individual psychological fragmentation.
Critique of Societal Malaise and Control:“Fight Club”: Primarily attacks rampant consumerism, corporate capitalism, and the emasculating effect of modern life on individual identity and purpose. The Narrator is a slave to his IKEA furniture and a monotonous job, seeking meaning outside of the prescribed societal norms.
“SHREWD, BRITANNIA": Critiques nationalism, political corruption, the deification of the state - “He is Britannia” -, and control exerted through technological saturation - “app invasion” -, psychological manipulation - “art persuasion, changing minds” -, and the suppression of individuality - “stigmatise, colonise".
Shared Relevance: Both works powerfully articulate a deep dissatisfaction with contemporary society, viewing it as a system that controls and diminishes the individual. They both explore how modern life can leave people feeling empty, purposeless, and searching for something "real" or authentic, even if that search leads to destructive paths.
The Fractured Protagonist and Alter-Ego:
“Fight Club”: The central narrative twist is the revelation that Tyler Durden is a dissociated personality of the unnamed Narrator. This highlights themes of identity fragmentation, suppressed desires, and the creation of an ideal - or destructive - self to cope with a perceived failing reality.
“SHREWD, BRITANNIA": Eric Tunglsson is presented with an "alter-ego," and his identity is questioned with "Son of God, born or bred?”. The album explicitly explores Eric's internal battle with "giving into ego" and "placing lust ahead of soul”, implying a struggle with a less authentic, more self-serving aspect of himself. The notion of a "mirror" showing the "real fear he should confront" also suggests an internal battle and self- deception.
Shared Relevance: This is one of the strongest points of connection. Both narratives feature a protagonist whose identity is fractured or dual, battling internal demons or a created persona. This serves to explore the psychological toll of their respective societal pressures and the search for an authentic self.
Anti-Establishment and Anti-System Rebellion:
“Fight Club”: Project Mayhem, under Tyler Durden's influence, becomes an anarchist organisation dedicated to dismantling the capitalist system through acts of sabotage and terrorism, aiming to free people from material possessions and debt.
“SHREWD, BRITANNIA": Eric's journey involves a "dismantling" of sorts, and the album directly attacks "corrupt modern politics" and the deified “Britannia". While the methods of "rebellion" might differ in their portrayal, there's a clear rejection of the oppressive power structure. The decline of "The Shrewd" also suggests a challenge to the existing manipulative forces.
Shared Relevance: Both narratives advocate for a radical rejection of the dominant societal paradigms and explore the consequences, whether psychological or physical, of such a rebellion.
Consequences of Complacency and Apathy:
“Fight Club”: The Narrator's initial state of consumerist numbness highlights the dangers of societal complacency.
“SHREWD, BRITANNIA": Lyrics like "the human race has had its fill of all of the above" and the portrayal of a populace "standing alone / glued to the phone / scared to even look himself in the face" strongly critique modern apathy and disconnect. The monologue on “QUARRELS’ CONSEQUENCE" explicitly warns that "those content with repetition must also bear the burden of quarrels’ consequence”.
Shared Relevance: Both works serve as a wake-up call, emphasising the dire consequences when individuals and society become complacent, losing their sense of purpose and agency.
Conclusion
"SHREWD, BRITANNIA" is a powerful synthesis, predominantly drawing from the dystopian literary tradition of Huxley and Orwell, filtered through the conceptual ambition and musical evolution of artists like Bowie and Gambino. It uses elements of historical British context to ground its abstract critique, creating a unique and deeply relevant commentary on the dangers of unchecked power, manipulation, and collective ego in the modern world.
The Biblical influence is central to the album's thematic language and the identity crisis of its protagonist and antagonist. It provides the direct phrasing and conceptual framework for the deification of the state and Eric's messianic questioning. The Greek/Roman influence is highly significant in the album's structural design and offers a potent mythological allegory that perfectly encapsulates Eric's ambition and potential downfall.
The album shares significant thematic DNA with “Fight Club”, particularly in its exploration of a fragmented protagonist battling an alter-ego, its profound critique of societal control and manipulation, and its anti-establishment sentiment. While “Fight Club” zeroes in on consumerism and masculinity, "SHREWD, BRITANNIA" expands this critique to nationalism and digital-age control.