This post is part II of a the previous post about Antoine D’Agata and DECAYKE is indebted to Emaho Magazine for the two part interview with him that they published. Click on the previous link to reach that conversation. If you skipped the previous post, there’s a link there (along with a few images) to the first part of the D’Agato piece. Like a lot of the music, film and other media/art we cover here at DECAYKE, D’Agata pushes boundaries, pointedly, with insight, often reminding us that there are no big truths, only that, what fragments of them we happen to perceive, happen in very discreet places in moments that have always just slipped by. In D’Agata’s case, as in much of the material we focus on, that transient, mutable meaning often manifests itself in the counterweights to superficial American optimism: in grief, squalor, addiction, major depression, suicide, and violence, and so we sometimes focus on these themes.