Consistency may be disparaged as staid, or celebrated as style. “Art is the place where liking what we like, over and over, is not only allowed but is the essential skill,” writes George Saunders in A Swim in a Pond in the Rain, asking, “How emphatically can you like what you like? How long are you willing to work on something, to ensure that every bit of it gets infused with some trace of your radical preference?”
For a house-music producer, it seems around a decade of emphatic consistency really gets the goods. It’s been 13 years since Maya Bouldry-Morrison’s first album as Octo Octa and 10 since she came out as trans — or, as she puts it in the closing poem of her fourth and latest LP, Sigils for Survival, started “finally living life.”