Experimental/improvisational/noise folk. Zither, banjo, lap steel, and parlor guitar are utilized. Abstract, atonal. jazz-influenced, improvisational, percussive, aggressive picking, strumming, “scrabbling,” and wandering around. Dizzy, druggy, delicate soundscapes with weird Eastern squalls and unidentifiable psych freak-outs. From Porter Records: “The record works best when the two play together, and off of each other. Lots of reverb and room sound… Stumbling, lurching atonal melodies drifting into soft shimmering avant Appalachia, squiggly slippery slide wound all around, off kilter chromatic riffing, and once in a while, the two come together perfectly and unfurl a warm washed out drone-y guitar raga, that we wish would just go on and on and on.” Indeed.

*1. Percussive, drifting squakling piece. (5:19)
2. Buzzing, motor-like drone behind cooing lap steel. (3:39)
3. Brittle, anxious, improvised banjo solo piece without much tunefulness. (4:14)
*4. Atmospheric, emotive slide steel explores alongside banjo improv. (4:39)
5. Lap steel solo piece tests your patience with minor seconds and vague, Elvis Hawaiian motifs. (3:45)
6. Haunted lap steel, dark sustained tones, more fucked up Hawaiian memories on psychedelic drugs, later settles on a humming upbeat passage with warm lap steel over challenging banjo. (6:41)
7. More menacing, dark feel, busy, brief. (1:29)
8. Lots of dynamics experiments, wriggly pitch shifting, slide tweaking. (4:01)
9. Frantic, classical guitar improv solo piece; noisy, abrupt, tense, anxious. (3:14)
10. Mellow banjo, slower exploration, relaxing. (3:04)
*11. Very pretty, peaceful start, moves into more atonal, weird territory as it goes along. (4:56)
12. Another classical guitar solo piece; scroggly, hammering workout. (2:59)
13. Drenched reverb, saturated, more constructed interplay, pretty interesting. (4:34)