Also, I wanted to say that I appreciate this track's challenge to the listener. It's definitely a great track and (most) people know quite clearly the difference between growing to like something or just tolerating it so long they grow to accept it, whether they like it or not. I honestly will say it is theonly ambitious track on the album. TH was made in a post-Geogaddi/Campfire world where in the span of eight years the BoC sound became so frequently emulated, chewed up, spat out, recycled, borrowed and downright stolen. Little bits of it were influential to talented artists who would combine their sound with something totally new and later derive their own from it to make some fantastic music. At the same time, artists without a real name for themselves trying to fit in by gimping their own style in favor of theirs to some degree (EVERYONE who has shared their music here in a nutshell) have borrowed heavily to produce music that may be good but is never particularly influential or amazing. On top of that, you have untalented artists who regurgitated a total emulation of BoC one after the other. I can't imagine what that seemed like to them, especially when hype turned viral and they were recognized everywhere as a bigger name than they'd ever been. I get some sense of subtle to heavy response though with TH, particularly after reading the interviews where they emphasized how they'd "destroy" sounds to create new ones. Same thing they already had done, but their language from the get was a lot bleaker in tone.
So, even though Palace Posy doesn't fit in so much with the "soundtrack" concept, it fits this theme that plays out in one of two ways, where we either get bullshit like Cold Earth (there's more but this is by far the best example and the only one that quite honestly screams "ironic filler") that sounds as though it is BoC trying to emulate someone trying to emulate THEM. Comes off as a middle finger of sorts. Funny for about a day before it becomes a depressing weight. The method Palace Posy takes advantage of is far more interesting; throughout the whole album we're presented with this odd, synth or sampler sound that is repeatedly used to play strikingly similar repetitive melodies. It gleefully sounds like shit. Literally sounds like the death of every BoC-esque sound ever used by them forced into a woodchipper, torn to pieces, reassembled and then forced back in again. Then it gets used without being reassembled. This same lead/pad is used all over the album. Too many songs use it at least once. I can't say the ending result is particularly good all around, but it's absolutely perfect in PP and I really, really, REALLY wish the rest of this album had been this different. Nothing but constant mood whiplash and nothing but growers. Would have been so perfect. Palace Posy uses the element of initial confusion (people in the Skype group laughed during the stream when it came on, I remember it so well) and a whole bunch of sounds that are not like BoC in any way whatsoever and then throws the woodchipper pad in more and more until the track, which has done its best to use any samples contained within it in the most atypical way possible, gives its one sample that's definitively BoC-like in tone and it's literally just "EELEVEN, EELEVEN, E-E-E, E-ELEVEN ELEVEN EEEEEEE" over a melody that's taking two steps forward and then directly back over and over again. Hard or not, accessible or not, it seals the deal. This is like the proper middle finger and it paints an illusion of something mundane and unexceptional by someone totally else parodying BoC while structurally, almost unconsciously being BoC in full force and experimentation. If any of the other tracks with that pad and the crunchy, tinny, ugly "metallic and...oh wait, sorry, it's just plastic spraypainted gunmetal that was melted in a VCR..." sort of percussion were attempting to do the same thing, a couple of them failed miserably at it. The very distinct feeling that accompanies Palace Posy pulling it off so well is that its repetitiveness does not show at all, at least not to me. There are more interesting things going on more numerously in the track often seen as the "weird" one and I absolutely love it.
TL;DR: Palace Posy is the best BoC track that doesn't sound like BoC and it's so well made that I want them to go even further away from what most listeners are happy with if it'll be this fantastic track after track. The placement of the track strengthens the "out of place" foreign quality and leads me to believe there is no way this was a fluke.
Okay...now...wait for fog machine.