119 Missax My Virginity Is A Burden Iv Ale 2021 -

The intersection of noise aesthetics with feminist politics has been explored by scholars such as Hegarty (2019) and Harrop (2022), who argue that sonic disruption can embody resistance to patriarchal narratives. Missax’s deployment of high‑frequency distortion and “telephone ring” samples parallels Harrop’s concept of auditory alarmism—the use of sound to signal sociopolitical danger.

IV consists of eight tracks ranging from 2:31 to 5:18 minutes. The analysis focuses on three representative pieces: 119 missax my virginity is a burden iv ale 2021

All tracks were obtained from the official Bandcamp release (Missax, 2021) and analyzed using the software Sonic Visualiser (v5.0) for spectral and structural data. The intersection of noise aesthetics with feminist politics

IV reframes virginity not as an innate moral state but as a socially imposed burden, aligning with Butler’s (1990) concept of performativity: virginity is performed through cultural scripts that assign value and shame. The EP’s lyrical insistence that “the weight is not mine” destabilizes the notion of internalized guilt, positioning the burden as external—a system‑level alarm. All tracks were obtained from the official Bandcamp

Labeling the work as IV suggests a serial narrative. Earlier releases (I–III) explored themes of surveillance, digital alienation, and commodified intimacy. IV consolidates these concerns, applying them specifically to gendered bodily expectations. This serial progression reflects Larkin’s (2023) claim that “each volume can be read as a layer of sociotechnical critique.” Missax thus situates IV as the culminating statement of an evolving political praxis.

The Roman numeral “IV” has been employed by several artists to denote a fourth installment that marks a conceptual shift (e.g., Aphex Twin’s Selected Ambient Works Volume IV). According to Larkin (2023), such numbering often signals a “meta‑narrative” where each volume reflects a cumulative critique. Missax’s IV can be read within this lineage, as a culmination of earlier EPs (I–III) that increasingly foreground gender critique.