Obviously what I meant was, the music was ok/good and I was enjoying it and then that voice came in again and annoyed me. No, tbh I don't get what it was supposed to represent, and maybe you should understand that not everyone who listens to instrumental music is going to be able to get inside your head. The fact that nobody else (you say) understood it shows that I'm not alone, and that you're either not communicating whatever it is you want to tell us sufficiently clearly, or it's just wank. I don't think it's the latter so I understand your frustration, however it is, I'm sorry, down to you. If you put this stuff in your music, you have to make it obvious why, otherwise people are going to go
When those voices come in during "The great gig in the sky", people know why they're there and what they represent. When you use speech in your music, I expect to understand why, or at least to be able to correlate the one to the other, and with yours I couldn't do that.
Finally, as I think you know by now, I say what I mean and what I hear in the music, and I'm sorry but I won't censor myself or soften the blow. If I think it needs to be said, I'll say it. If your attitude is "say what you want about my music but don't criticise [fill in the blank]", then the solution is simple: don't ask me to review any more of your albums. Sorry man, but that's how it is with me: you get all or nothing, no compromise.
I note you're only focussing on the bad parts and ignoring where I said your music was good, not to mention my effusive review of
Frownland and
For Now. Can you not take one negative review? I asked people not to be butthurt, and if they thought they might be, not to bother. You're kind of a veteran of my reviewing techniques, so I'm surprised you're taking it so badly.