1. (4:11) Great Princess Story — Floats over juddering, arpeggiated synths. Layers of guitar and chime-y notes as well. Pounding drums. Features a stunning duet between Newman and Case. ****
2. (4:10) Pure Sticker Shock — Pure synthpop. A jaunty stroll with a confident beat. Lyrics explore the “sticker shock” we might feel should we discover that we value ourselves higher than the ‘market’ might. ****
3. (3:50) Ballad Of The Last Payphone — An ode to how technology marches on, as the new replaces the old with minimal fanfare. Straight-ahead simple rock with female backing vocals playing off Newman’s lead.
4. (4:54) Spooky Action — Guitar-driven tune with a nice shuffle to it. Almost island-like in its rhythm. Synth in the breaks. Once again, Newman on the lead with warm harmonies from Case and Kathryn Calder. ****
5. (3:40) Wish You Could See Me I’m Killing It — Heartbeat rhythm. Sparse arrangement with guitar, lonesome synth and plaintive vocals.
6. (3:46) Votive — Starts gently with twinkling synths and breathy vocals. Then, it kicks into gear with edgy guitar licks and a driving beat. ****
7. (1:49) Wine Remembers The Water — Insistent, pulsing synth rhythm with swirling tones surrounding stop-and-go vocals in this short track.
8. (3:48) Calligraphy — Guitar-based, with almost an R&B groove. Funky vocals and nice guitar licks in the breaks.
9. (4:35) Bonus Mai Tais (Clean Edit) — Tells the story of visiting a friend with cancer. The somber subject is counterbalanced by the bright synthpop arrangement highlighted by Newman’s and Case’s harmonized vocals. ****
10. (6:38) The Former Site Of — A gorgeous, sprawling cinematic closer. Builds to feature tumbling drums. Roaring guitars and synths. Powerful lead vocals with harmonized backing. ***
11. (4:35) Bonus Mai Tais (Explicit) — FCC, mild: “Knowing dick all about such things” — Unedited version of track 9.

1. * Folksy, with call-and-response vox and a driving baseline. Clap along, medium speed.
2. ** Featuring Tuareg + Spanish vox. Hopeful, folksy, faster speed.
3. *** Cool rhythm, more electric guitar. Feels like Neil Young tripping in the Sahara. Medium speed.
4. Slower, moody. Choral vox with a complex harmony. Simple instrumental arrangement.
5. * Upbeat, faster speed. “Asstaghfero Allah” (“Let God forgive me”).
6. *** More upbeat. Featuring choral and female vox.
7. More somber, pensive. Features American roots guitar style.
8. * Upbeat, dancey, less lyrical.
9. ** Sweet melody with light percussion, male lead vox. Hum along.
10. Chant-like vox with a focus on more dynamic drumming.
11. Slow, solemn, ethereal. Exploring reverb and effects.

1- (4:26) Placid morning dewdrops, moves slowly
2- (3:27) Sugary, like baby nursery music
3- (6:20) Percussive. Builds layers until there's quite a bit going on
4- (4:26) A chanting rhythm
5- (3:37) Spacey synth melody slowly winds its way. Upbeat ritualistic rhythm
6- (4:30) Upward melody like a tomato plant climbing
7- (2:53) Slow and halting

1. Funky, retro drum machine workout clocking in at eight minutes. A real throwback to 80’s Detroit electro. Tasteful vocal samples and a skippy marinade add some flavor but mostly it’s head-down jamming on some Rolands
2. Electro house with some pitch-shifted vocals, a seriously floaty synth line, and liberal handclap samples. Retains the same old school hoppy feel as track 1.
3. Beautifully aquatic balearic /downtempo track. Serene and peaceful with some glittery effects and a bouncy bassline. My favorite of the lot.
4. True to its title, “New Sun” this track offers a sun-kissed escape—slowly blossoming tropical melodies paired with bright tropical percussion(and a few chirping birds). Infectiously groovy and sparkly.

1. Muffled bass, snappy claps, a nice bounce, gorgeous rosy melodies
2. Slow-building abstract synth. A sparse beat kicks in at the halfway point
3. Cold, industrial buzzy intro leads into a bubbly effervescent drift-along
4. Snappy beat, pleasant stretchy synth melodies
5. Kaleidoscopic spiraling track with tendrils of synth and cascading chimes
6. Dubby liminal, haunting
7. Sparse funky beat with some lovely glitchy effects
8. Short wobbly ambient track
9. Squirmy and skittery
10. Deep, bottom-dwelling ambient piece peppered with blips and bloops
11. Open, loose, jazzy. Wandering synth and bright sunny xylophone
12. Smooth, serene, cinematic ambient. Really pretty outro

1 - Starts with clackety driftwood and shells, then low flute-like sounds. This is a tribute to walruses, with guest Phillip Greenlief imitating walrus calls on Leonard's kelp-built flute.
2 - Water and quiet rushes of sound over the faint rumble of a ship's engine. Ends with chimes and kelp flutes. The least 'icy' track.
3 - Ringing wine-glass sounds (actually Pyrex beakers). Builds into an eerie gathering of tones, surging and pulsing.
4 - A suite of stillness, inspired by an abandoned Soviet settlement. Starts quietly: Buzzing, scraping, like sound out of focus. After 6:00, crisp sounds of rocks, metallic scrapes, and water. After 10:00, a coda of muffled chimes (played on a metal handrail) and bowed resonant sounds.
5 - Raspy, breath-y sounds ranging from airy to metallic. A slow meditation on sila, the Inuit concept that 'links the individual.

1. (2:34) This Is Your Life Now — Confident, deliberate and strummy, with accepting, introspective lyrics. Strings or synth orchestration added as the song progresses. Sounds like Jacob Dylan of the Wallflowers. ****
2. (4:04) Hoeny Burne — A lovely, melodic sway featuring piano, organ and harmonized vocals. Wry, humorous ballad with storytelling lyrics about a struggling novelist/English teacher. ****
3. (3:49) Grab Enlightenment By The Horns — A relaxed alt country shuffle. Nice laid-back bassline under sustained synths, the latter of which at times sound like a mournful pedal steel guitar. ***
4. (4:14) The World Is F---ed And I Love You (Clean Edit) — Super catchy, splashy, up-tempo New Wave-influenced pop rock with a serious message about environmental concerns, science sceptics, our divided electorate and more. Blaring synths, guitars and programmed drums. ****
5. (6:18) Video Farm (Clean Edit) — Leisurely stroll built on a prominent bassline with ‘spoken-sung’ vocals. Lyrics focus on the desire of so many to be constantly on their phones and visible through social media. This one sounds like Runnner (Noah Weinman). ****
6. (3:22) Honeymoon Suite — Light and jazzy slow dance with a plink-y piano and simple syncopated rhythm consisting of reverbed claves.
7. (3:36) Jim (Clean Edit) — Pensive storytelling tune about a factory worker who watches everyone else get ahead at work except for him. Tom Petty-like vocals with organ and shimmering guitar. ***
8. (5:05) Reborn — Slow-tempo, almost funereal in its pacing. Sorrowful vocals over sad, church-like keys. Dramatic, repeating echoed drum signature. Woodwinds and swirling effects in the lead break.
9. (3:04) Cynical Vision — Upbeat rocker with edgy guitar, a bit of piano and a solid backbeat. Very Tom Petty-ish.
10. (3:59) So Lucky When The Music Plays — Surprisingly hopeful closer. A rich, warm synth and organ-heavy ballad with flowing strings and lilting vocals. ***
11. (4:14) The World Is Fucked And I Love You (Explicit) — FCCs: fucked (5 times) — Unedited version of track 4.
12. (6:18) Video Farm (Explicit) — FCCs: assholes, shit — Unedited version of track 5.
13. (3:36) Jim (Explicit) — FCCs: shit (twice) — Unedited version of track 7.

1. Rain: light and echoey vocals, scratchy upbeat guitar
2. No Matter How: upbeat start with drums, classic shoegazy pop, chill but exciting fuzzy energy, fun synth bits and sustained chords, reminds me of Alvvays
3. Moving: Shoegaze pop, cool panned funky fuzz guitar chords and echoey vocals, vaguely Cocteau Twins or Cranberries vibes
4. Bounce: nostalgic indie pop, high energy and fun guitar riff, flying and light vibes, chimey synths
5. Hawaii: gritty fast-paced guitar and busy drums, punk-infused, fuzz vocals, distortion
6. Garage Intermission: elevator music if it was slowed + reverb indie with slide guitar, echoey vocals
7. Slow Blues: chimey mesmerizing synths, flowy shoegaze, squeaky guitar line
8. Pop song: high energy upbeat, synth melody, fast paced bass, echo distorted guitar, busy drums with lots of crash
9. July (and I’m): bit-crushed drums, slow strummy acoustic chords and whoosing, very echoey ambient calm
10. Happy You Exist: whimsical echo guitar chord strums, similar to tracks 2-5, fun layers of distorted guitars
11. Really AM: shoegaze indie, melancholy, bassline carries chords with droning and screechy guitars that wrap around the vocals
12. We’re Dancing (End): ambient atmospheric, distorted droning ending to the album, no vocals, reminds me of if Sigur Rós was shoegaze

1. In A Lake: slow ballad with vocals, banjo plucks, accordion, and acoustic guitar chords, bluegrass instruments, loud ending
2. Where’s My Phone?: distorted scratchy guitar, fuzzed vocals, loud, ominous, screeching, ripping guitar solo and warping out ending
3. Cats: gentle, country-inspired ballad, quiet and soft vocals with slide guitar
4. If I Leave: dark, plucking distorted guitar tones, loud, desperate vocals in chorus
5. (FCC WARNING) Dead Women: slow, sweeping strings, dark chord progression
6. Instead of Here: soft and gentle, ballad with guitar and piano, sad organ
7. I’ll Change For You: slow ballad, folksy, with samples intertwined, sweeping strings, flute
8. Rules: upbeat and twangy, louder vocals with slide guitar and organ, fun instrumental section with clarinet solo and brass
9. That White Cat: twangy electric guitar riff, tense buildup, cowboy showdown vibe
10. Charon’s Obol: acoustic and slide guitar, gentle vocal with background humming vocals, with fiddle solo
11. Lightning: starts with twangy acoustic slow and transitions to scratchy heavy distorted sound, similar to track 2

1. (5:02) Terra Mia — An opener full of contradictions. Musically, it’s built on strummed ukulele, a busy bass line, synths, guitar riffs and uplifting, lilting vocals. But the dark lyrics contemplate the mess we’re making of the environment and the worrisome consequences for the world. ****
2. (2:54) Dusking — Upbeat, catchy indie pop. The arrangement harkens back to the best Brit pop hits from the 60s, with a classic melodic construction and rich instrumentation. ****
3. (3:04) Rainbow Cardigan — A hyper-catchy single. Acoustic guitar and lightly jangling ukulele. Huynh’s ‘spaghetti western’ bass and Crabtree’s cracking drumming help carry the tune. Marvelous lead break by Bowman. Wonderfully inventive wordplay, which muses about merging colors and shades and matters of time. ****
4. (3:03) Crumb Clean — Bouncy and fun. An optimistic counterpoint to the harsher environmental message of the opener. The melody draws from a musical piano riff played by Karla’s talented young daughter (who also performs on this cut on the album).
5. (4:16) The Harvestman — Soothing and dreamy lullaby. Measured tempo. A gentle swing. Lush lead vocals. Crystalline Beach Boys-like harmonized backing vocals, especially nice in the leisurely trail-out. ****
6. (3:35) Dark Matter — Syncopated, stop-and-go grabber. Slow fade in. Originally released as part of a ‘bewitching’ collection for Halloween by the Big Stir label. Lots of accolades to members of the clever crow family. ***
7. (3:16) Red Yarrow, Yellow Yarrow — Jazzy, piano-forward folk tune that pays homage to a native California flowering plant, which is as at home in suburban backyards as it is in the wilderness. Sweet vocals.
8. (2:57) Universe Point — Composed by lead guitarist Bowman, this tune has a hooky, march-like vibe with a brief, throaty guitar-driven lead break.
9. (3:58) Victoria Sponge — Tells the story of the rise and fall of the Crystal Palace in South London — a cast-iron building that was 1,851-feet wide and 128-feet tall — with brilliant, plate-glass walls. The warm melody was composed by Helen Luker of UK-based band, Fun Of The Pier. ***
10. (2:54) Larkspur Landing — A slightly unsettling, yet somehow reassuring, chamber pop closer with an important nod once again to caring for our environment. Larkspur Landing is where the San Francisco Bay ferries come and go in Marin County. ***

1. (3:49) Run Away With Me — Mid-tempo. Energetic pop with a repetitive plinking piano, synth strings and reverbed, harmonized lead vocals. Some nice call-and-response elements. Reinforces the DIY vibe of the entire set. ****
2. (3:41) Flying On That Plane — Very David Bowie-like. Guitar-driven but wrapped with rich sampled horns. Tumbling drums at times. ****
3. (3:25) Help Me Go To Sleep — Bright, strummy acoustic folk. No rhythm track. Smooth, gentle harmonized vocals. Reminiscent of the Beatles’ white album period. ****
4. (3:15) Fairytale — Pays homage to 60s folk rock coming out of the canyons in L.A. Chime-y piano and acoustic guitar. Recalls Dylan’s “All I Really Want To Do,” as performed by the Byrds and/or Cher. ****
5. (3:04) Under The Sun — Meandering psych rock with spacey effects and slightly drone-y vocals.
6. (3:14) And I Love You — Measured, melodic rock ballad with filtered vocals over throaty guitars in the choruses. ***
7. (6:58) Dislodger — Intriguing anthem. Starts with lovely, picked guitar, but then layers in synth, organ and guitar effects. Disarming vocals harking back to the Kinks of the late 60s. ***
8. (2:55) No Plans — Down-tempo rock swagger — with tasty, reverbed guitars and piano.
9. (3:32) She’s A Lady — Piano-based love song. Sad, emotive vocals about a chance meeting with a woman after a breakup. Some uplifting synth orchestration in the choruses.
10. (2:23) Now What — Throwback to simple 60s pop rock, with a piano-led melody and trombones or tuba in counterpoint.
11. (3:01) Forever Blue — Spare and melodic. Vulnerable vocals backed by simple acoustic guitar.

1 (5:33) ******* Minimalist, slow, persistent harp.... soft ethereal vox, sound gradually becomes richer and more fleshed out with synthy, ambient backing ... then halfway through more of rich, haunting full choir; beautiful stuff
2 (7:05) ***** Harps form a hypnotic dirge, joined by an uncanny buzzing of overlapping voices, grows into a fairly haunting but pretty atmosphere
3 (2:37) **** A Roger Eno composition; melancholy plinking strings and solemn, soft wailing
4 (7:12) ***** Somewhat hopeful harp movement, soft and distant vocals, eventually joined by lush, fuzzy chorus of voices; repetitive and hypnotic, nice vibe; fades out with fuzzy fat synth
5 (4:15) ******** A cover of a piece by Vangelis for "Blade Runner" (1982) - somewhat spacey synth with futuristic glissandos, then somewhat curious vocals and an array of other spacey and far-out instrumentation, some whistling, just a great atmosphere
6 (7:11) ****** Bluzzy diagonal synth; plinky high spacey sounds joining it; eventually gets a pretty cool and driving beat, closest to being dancey, very very spacy atmosphere; eventually soft and gauzy bg vox
7 (8:37) **** Hypnotic repetitive pattern, plinky synth and elegant harp sounds together; vocals join halfway, eventually with more of a melodic hook than the rest of the songs

1. (4:14) ***** Creaking doors, sudden striking piano thuds, spare and spooky and ominous, eventually turning into antic, chattering, paranoiac beat
2. (5:06) ***** Crinkly crumbly sounds, then bang-on-trash-can sounds create a sort of groove; more hallways of soft airhorns, various percussion; somewhat catchy, somewhat nightmarish
3. (4:14) ****** Soft sweet organ sounds, with antic schizo percussion, then maybe super-sweet xylophone... hypnotic and cryptic, strange and childlike and spacey, almost poppy
4. (3:58) ***** Gulpy percussion leading into almost a music-box sort of atmosphere; strange and cacophonic, but also sunshiney and hopeful? At least, until the sort of claustrophobic xylophone nightmarish sounds that close it out
5. (2:57) ***** Plinky atmosphere, with big fat spaghetti western guitar; shimmery sounds enter; spacey but somewhat coherent
6. (20:42) ******* The long piece, the sounds are very of a piece with the tracks above, with more time to flow, evolve, change, grow; beats: sometimes

1. (2:12) *** A cool, jazzy take on the 1960s pop/r&b song "Spooky", with minimalist bass accompaniment for the first half, then keyboard in back half (short overall, just two minutes)
2. (1:01) **** Woozy, dreamy, blissy, bittersweet
3. (0:46) **** Hazy and tape-warpy, daydreamy and indistinct; in the film, a sort of epiphany in the presence of skateboarders (see track 10 for longer take on same theme)
4. (0:55) *** Soft, sweet, hazy
5. (0:33) *** Sweet and hazy, but a bit of longing and confusion
6. (1:08) *** Take-warpo sound, liminal and hazy
7. (1:08) **** nostalgic and hazy, plinky guitar and electric haze
8. (1:10) **** Soft and warm enveloping sounds
9. (1:15) **** Hypnotic and european guitar haze and reverb swamp
10. (3:38) ***** Sour and metallic reverb haze, that spirals out into even more hazy and dreamy circles of sound, reaching an epiphany, finally fading into soft, few echoes
11. (1:35) ***** Soft and sweet synthy bubbles of sound, floating about in a soft cloud
12. (0:47) ** Very short hazy bit
13. (3:36) ***** Take on Jackson Browne's "These Days", done with very similar arrangement to Nico's famous take on it, but a bit more minimalistic at first, and then evolving into a rich synth soup of warm electric sounds and echoes, eventually with air of electric guitar fuzz
14. (3:43) ******* Plinky, dreamy, hazy, really pretty, and unlike earlier tracks in this vein, long enough to hold onto
15. (4:21) ***** Ethereal, somewhat sharp and razory, sounds in a minimalist suspension of soft sounds, echoes and daydreams, even some white noise hiss -- sound congeals towards end
16. (3:32) ******* See #13, but additional mix featuring the Kaleidoskop string quartet, makes it a bit more interesting, but the other more minimalist mix is nice too

1. (4:18) Good Intentions — Cinematic and orchestrated. Guitars and synths carry this power pop tune, with Hollingworth’s vocals soaring above. Let’s Eat Grandma bandmate Walton adds to the stirring harmonies. ****
2. (3:42) Quicksand Heart (Clean Edit) — Shimmering and rapturous. Synth-driven tune. Verses build to driving choruses with guitars layered in. Lyrics deliver on the “quicksand heart” analogy. ****
3. (3:43) Every Ounce Of Me — Lead single. Catchy pop with a soundtrack quality and lyrics like one would hear at the apex of a romantic movie. ****
4. (4:23) These Streets I Know — New Wave ballad with swelling synths and emotive lead vocals. About getting away from London’s hectic pace and pressure to the countryside surrounding her family home in Norwich. **
5. (3:00) Pacemaker — Formulaic pop standard that blends in with the rest of the album’s tunes. Nice, harmonized lead vocals.
6. (4:47) Dolphins — Wistful, playful and childlike. Repetitive keys in a liquid soundscape, like swimming in the ocean. High-pitched synths in the distance suggest dolphins communicating with one another. ***
7. (3:19) Groundskeeping — Warm, acoustic ballad. Piano and synth-led, with plaintive lead vocals.
8. (3:22) Push — Another sophistipop track with a persistent beat that gets a little lost in the set.
9. (4:18) Do You Still Believe In Me? — Syncopated beat. Throaty guitars and glittering synths. Hollingworth’s crystalline vocals carry the New Wave power pop tune. Noisy trail-out. ***
10. (4:49) Appetite — Powerful, uplifting closer. Guitar-driven with a solid drum track carrying the cross between an anthem and a ballad. Another track with Walton lending her voice to the harmonies.
11. (3:41) Quicksand Heart (Explicit) — FCCs: fucked-up (three times) — Unedited version of track 2.

1. *(2:40)—Mid-tempo, patient, with a lockstep beat and a darkwave feel. Not a cover of the Velvet Underground song.
2. (2:49)—Mid-tempo, head-nodding beat. Glassy guitars, heavy thudding sounds.
3. *(3:00)—Mid-tempo, blown-out beat. Sinewy guitar melodies. Spoken word. Sounds like late Unwound in places.
4. *(2:07)—Medium-fast, partly in 7/4. Chugging rhythm.
5. (3:18)—Mid-tempo, with psych rock verses and post-hardcore choruses.

1. *(4:43)—Mid-tempo, great open-road driving song. Catchy, triumphant wordless melody.
2. (4:54)—Medium-slow, heavy-footed rhythm. Lyrics that allude to "Maggie's Farm."
3. (3:41)—Medium-slow, sweet and pensive, with emphasis on the strings and piano.
4. *(4:16)–Medium-slow, with big crunchy riffs. "If we make it up the mountain again, we’ll be back with country friends."
5. (4:37)—Very slow, mournful, with ghostly pedal steel textures.
6. *(3:29)—Medium-slow, just gorgeous and gentle and wistful, with a dramatic bridge. "I’m bound to be a boring angel, though I try not to be."
7. (4:01)—Mid-tempo, with a steady, easy groove.
8. (3:03)—Slow and soft, with pretty duet harmonies. "You’ve got a gift, a raw talent for being put up with."
9. *(5:19)—Mid-tempo and easygoing. A gently heartbreaking character study of a couple. "As southern kids we learned how to drink enough, it’s all we’ve got and it’s easy, but sometimes it still hurts to see you love me."
10. (2:13)—Medium-slow, mainly strummed acoustic guitar and voice. Lyrics about loving your hometown.
11. (3:43)—Slow, with the sweet sadness of a Magnolia Electric Co. song. Very pretty pedal steel solo.

1. *(5:30)—Medium-slow, patient, with gentle piano and a long, gradually cresting climax.
2. (4:44)—Fast. Heavy, muscular, with a pop-punk feel.
3. (4:38)—Medium-fast, driving. Pretty string textures.
4. *(5:40)—Mid-tempo, tom-heavy beat. Carefully paced and heavy. Lovely long outro with group vocals.
5. (3:36)—Mid-tempo, big start, more complex and meandering chord progression.
6. *(4:35)—Mid-tempo, long intro, heavy. Big, triumphant second half.
7. (4:58)—Mid-tempo, 3/4 time for the first half. Pretty electric guitar interplay at the end. Doesn't get big and grand until the final minute.
8. (3:20)–Fast, with a hardcore beat for the first half. Very 2000s-emo–sounding ending.
9. *(3:46)—Mid-tempo. The softest song, with pretty acoustic strumming.
10. (5:39)—Mid-tempo. Starts with more acoustic strumming, quickly becomes a catchy rocker with gentle duet singing. Lovely ending with piano and strings.

1. (6:37)—Very slow, gentle, shifting rhythm. Drone textures gradually come forward.
2. *(6:40)—Slow, subtle, stuttering beat. Gentle, conversational singing from Loraine James.
3. *(6:06)—Starts with a slow and slightly ominous beat. Gently rustling synths. Rhythm picks up speed and shifts a lightly bouncing 3/4-time.
4. (5:44)—Slow, with a swooshing beat. Stays in a gentle groove.
5. (5:42)—Very slow, featuring spoken word from Angelina Nonaj ("not everything beautiful has to be real").
6. *(7:32)—Mid-tempo, the most danceable but still with an understated rhythm. Sliding rhythmic textures, whisper-like sounds.

1. *(6:31)—Very slow, massive-sounding, with lots of synth layers. Heart-rending, almost overwhelming. "I'm inventing life again at seventeen, dancing in a drawing room like in a dream."
2. (6:04)—Slow, with soft acoustic guitar strumming. Floaty, with a roundabout chord progression. Soft brushed drums.
3. *(3:40)—Mid-tempo. Chunky lo-fi guitar strumming, distant drumbeat and tambourine.
4. *(3:32)—Slow. Lo-fi drums, shoegazey distorted guitar textures. Long droning outro.
5. (4:06)—Mid-tempo. Sweet and peaceful. Fingerpicked guitar, sing-song cadence.
6. *(4:19)—Medium-slow. Head-nodding guitar strumming, electronic piano, melancholy harmonies.
7. *(4:08)—Mid-tempo, with tense guitar strumming and slightly glitchy textures. Eerie. Long ambient finish.
8. (2:58)—Instrumental. A reversed recording of synth textures and voice.
9. (5:57)—Very slow. Drone textures, singing that sounds like it's coming from a cave.

1. (3:44)—Slow, swampy menace like something from "There's a Riot Goin' On" in the verses. Noisy choruses with shouting ("There's a bomb in my car!"). Jpegmafia guests.
2. (3:05)—Mid-tempo, sweetly melodic and unsettling. "You can make the cobras dance but not me!"
3. *(4:08)—Mid-tempo, with a dense and halting multilayered beat. Builds on a tense repetitive groove, like a Califone song.
4. (4:44)—FCC (f***). Fast, switches between '70s hard rock and clean guitar interplay. Samples of a Ukrainian choir.
5. *(5:54)—Slow, patient, taut funk with perfect pacing and slow-burn tension. Sudden stop in the middle, jammy second half.
6. *(3:46)—Medium-fast. Chaotic, driving funk-rock with satirical lyrics: "All people must smile in times of war.... All people must go dancing out on the dancing floors."
7. (3:22)—FCC (ass***e). Medium-slow, with a drunken, maudlin feel and a lovely chord progression.
8. (3:30)—Slow, sweet but deeply sad, pleading and heartbroken. Dramatic build.
9. (3:28)—Medium-fast with a choppy rhythm and handclaps.
10. *(3:17)—Mid-tempo, the main single. Minimal, drumming-focused first half; big, triumphant second half with group singing.
11. *(6:37)—Fast, frantic, dramatic, piano-forward, like a musical theater number on a runaway train. References to Joan of Arc, John Henry ("behind a desk that was a million feet wide"), and Charlemagne ("on the midnight bus").

1. *(3:34)—Lilting mid-tempo chord progression. Fingerpicking and lonely slide guitar.
2. (3:49)—Bubbling, gently glitchy textures.
3. *(4:32)—Echoing acoustic guitar, soft 80s guitar textures.
4. *(4:06)—Deep, slow electric guitar. Woozy, wafting pedal steel melodies.
5. (3:24)—Gleaming synthesizer drone, sounds of leaves.
6. (3:53)—Mid-tempo fingerpicked guitar with a catchy, hummable guitar melody on top.
7. *(3:26)—Underwater-sounding textures, ripples of low guitar melody.
8. (3:35)—High, shimmering textures. Clicking and waterlike sounds.
9. (3:25)—Pillowlike drone, soft backward guitar, high pinging strings.
10. (5:53)—Sunny-sounding, with lazily playful melodies over a major-key drone.

1) 3:47 Horn-Powered R&B Romp, Duet with Bobby Rush
2) 4:13 Laid Back Low Down Love Lament
3 3:47 Mulit voiced Social Justice Funky Stroll
4) 4:47 Updated Version of Lou Rawls Funky Classic
5) 4:23 Bedrock Horn-drenched Blues Ballad
6) 5:48 Laid Back Autobiographical Lament
7) 3:43 Good Time Chi-Town Shuffle
8) 5:33 Funky Struttin' Part Spoken Word Stroll
9) 4:28 Bluesy Caribbean Island March
10) 4:52 Heartfelt Ballad
11) 4:07 Uptempo "Billy Branch" Instrumental Blues Harp Showcase

1) 4:45 Laid Back Blues Guitar Walk with Vocals
2) 4:12 Classic Blues Finger-Pickin' on a Tuff Shuffle
3) 3:39 Hard Driving Boogaloo
4) 3:43 Phat Phunky New Orleans Bounce
5) 6:37 B.B. King Guitar on a Lowdown Drag
6) 2:56 Driving Blues Guitar Instrumental Showcase
7) 3:40 Mid-Tempo Blues Drive
8) 5:13 Low Down & Laid Back Golden Rule
9) 5:29 Dark Blue Slow Walk
10) 4:29 Serious Tribute to Blues Slide Guitar King

1) 3:20 West Coast Doo Wop-ish R&B Classic
2) 3:56 Good Time Soulful Boogaloo
3) 5:06 Serious Low Down Blues Drag
4) 4:51 Laid Back Horn-Drenched Soulful Lament
5) 4:05 Uptempo Swingin' Guitar Instrumental Showcase
6) 3:00 Lil' Richard Influenced Boogaloo
7) 5:14 Laid Back Dark Blue Gospel Walk
8) 3:10 Good Time Doo-Wop-ish Bounce
9) 3:58 Soulful Bluesy Ballad

1) 2:50 Easy Walkin' Horn Powered March
2) 5:05 Strong Vocals With Stripped Down Harp, Guitar & Drums
3) 5:43 Classic B.B. King Slow Blues
4) 4:20 Uptempo Blues Harmonica Showcase
5) 3:21 Serious Howlin'Wolf Classic
6) 3:47 Deep Sonny boy Williamson Bounce
7) 4:14 Powerful Chicago Alley Blues
8) 3:56 Fat-Toned Original March
9) 4:35 Solid West-Side Chicago Anthem
10) 4:08 Uptempo Blues Harmonica Instrumental Showcase
11) 3:09 Swingin' Robert Nighthawk Stroll
12) 9:02 Extra Long Chromatic Harmonica Blues Drag

1. (2:50) Marigolds — Breathtaking opener dealing with a heavy theme of not expressing one’s love. Starts with a sustained ethereal fade-in, and then kicks in with a solid mid-tempo hook at 1:10. ****
2. (3:52) Small Town Joan Of Arc — Syncopated pop bounce with a hint of Americana amidst the intricate layers of sound. ****
3. (3:58) How To Live (Clean Edit) — Fragile, strummy anthem. Airy in the verses, building up to more energetic choruses with a stop-and-go rhythm. Jaffe’s soaring, reverbed vocals are a highlight. ****
4. (5:14) Please Follow — A funky, jazzy groove with drifting synths and a compelling bass line. Incorporates ample brass under the pleading vocals in the back half of the track.
5. (3:20) Eastside Girls — A melancholic and sad stroll. Sweet vocals, with a romantic feeling over twinkly piano and throwback brass trappings.
6. (3:25) New Personality — Up-tempo, radio-friendly toe tapper, with rapid-fire almost spoken vocals. Throwback sax solo in the lead break. ***
7. (2:43) We Don’t Have To Take It Slow — Sentimental piano ballad with pedal steel guitar.
8. (2:41) Never Speak Again — Flowing, synthesizer-heavy track with lyrics about love lost and saying goodbye.
9. (3:27) Ghost In The Uniform — Breezy, light guitar-based 70s-era pop with warn vocals. Adopts a bossa nova flavor partway through. ***
10. (2:34) Waiting On The Day — Measured, halting tempo with a solid backbeat and nice guitar work. Leans a bit more Americana.
11. (2:54) Damn — A cheery folk pop standard in the streams-happy style of the day, with piano flourishes and some clever lyrics. ****
12. (4:03) Eagle In My Nest — Slow and introspective orchestrated closer, with thoughtful lyrics and smooth vocals expertly handled by Jaffe.
13. (4:00) How To Live (Explicit) — FCC: fuckin’ (twice) — Unedited version of Track 3.

1. (3:20) Speakers’ Corner – bouncy number describing that special place in London. This was the second single released.
2. (4:29) Flying with Angels – What Vega does best is to create a mood, not just a song. She’s doing this with the rhythmic electric guitar and then layers a spooky riff on top. The song feels like we’re really flying with Angels.
3. (4:36) Witch – another great song with an intro build-up before the beat kicks in and takes on a sonic journey with layered guitars as she describes our state of emergency brought on by “what witch that sent this glitch”.
4. (3:23) Chambermaid – a catchy and light tale from the perspective of a chambermaid. "Chambermaid" is an adaptation of "I Want You", written by Bob Dylan, with additional lyrics by Vega and additional music by Vega and Leonard. This was the third single released.
5. (3:35) Love Thief – this kitschy yet haunting song sounds like something out of the early 60’s and nothing like other Vega songs.
6. (3:36) Lucinda – a stripped down raw electric guitar provides a background to Suzanne’s vocals.
7. (2:53) Last Train from Mariupol – sad song featuring acoustic guitar and voice.
8. (3:31) Alley – very catchy tune that builds up to a satisfying super melodic vocal and euphoric lyric about flying free, perhaps with angels? This was the fourth and last single released.
9. (4:09) Rats – heavy guitar with a frenetic voice that conveys the situation of rats everywhere in an apocalyptic world. This was the first single released.
10. (3:57) Galway – has the tempo and sound of an Irish folk tune.

1. (4:14) Amnesia — Cinematic and ethereal. Opens with a shimmering soundscape with an isolated piano and confident vocals. Then, transitions to a measured, danceable Europop groove. ****
2. (4:09) Math Equation (Clean Edit) — Outstanding clubby dance track. Pulsing bass, skipping beats and claps. Austra’s vocals levitate above the synth atmospherics. ****
3. (3:38) Siren Song — Emotive vocals soar skyward. Urgent, intricate percussion creates an intriguing foundation for the flowing, chime-y synths. Lyrics incorporate Greek mythology. ***
4. (1:49) Chin Up Buttercup — Brief interlude that starts with random, indistinguishable processed chatter. Halting pace. Synth pulses and flute-like notes are intermixed with spoken and sung vocals.
5. (4:37) Fallen Cloud — Another disco-influenced club standout. Jittery rhythm over a steady beat. Melodic and hopeful in the face of her heartbreak, with shimmery, reverbed vocals. ****
6. (3:35) Blindsided — Slower and hymn-like amidst spare electronics and effects. Wistful and introspective lyrics look back at the disintegration of a long-term relationship.
7. (3:31) Think Twice — Bouncy, fun and video game-flavored tune — with catchy synth arpeggios. The exclamations of “Oh whoops! Whoopsie!” capture Austra’s improving frame of mind as she healed. ***
8. (2:22) Look Me In The Eye — Another crystalline, sad ballad, with Austra’s hymn-like vocals swelling over simple piano notes, space-y synths and spare rhythm.
9. (6:07) The Hopefulness Of Dawn — Opens with an otherworldly soundscape, with Austra’s cavern-like vocals echoing throughout. At two minutes, backing vocals are layered in. Then, the song accelerates into a Madonna-era dance number. Long atmospheric trail-out. ***
10. (3:57) Good Riddance — A bloopy closer with choir-like vocals. Meant to be a final farewell to her former partner and acceptance of the breakup. Harmonies are added in the second verse.
11. (4:12) Math Equation (Explicit) — FCCs: fucked (twice) — Unedited version of track 2.

1. (4:50) Desire — Lush, French pop-infused track over a breezy, flowing soundscape with some spacey effects. ****
2. (3:38) In Darkness — Darker and more circular with a solid beat and swirling synths. ****
3. (4:38) My Melody — Shimmering, dreamy disco-infused pop. Reminiscent of Blood Orange.
4. (2:35) Ascent — Mesmerizing instrumental interlude. Shuffling drum track. Hypnotic, repetitive synths. A bit of indistinct, ghost-like backing harmonies. ***
5. (3:37) Piece Of Me — Bouncy and catchy, effortless New Wave-style synth pop. ****
6. (5:06) The Echo — Only club-style ‘banger,’ with an inviting danceable vibe — while maintaining the album’s atmospheric feel. ***
7. (3:42) Always With Me — Captivating instrumental, with a repetitive synth signature over an intricate rhythm. Morphs into a snug, cocoon-like soundscape a little more than halfway through.
8. (4:55) Come Tonight — Somewhat similar to the previous track, with a rich low end and energetic beat.
9. (3:26) Endless — Another airy, disco-influenced track with chirpy synths.
10. (4:46) Rekt — A skipping, syncopated song with pleasant vocals. Nice bass line in the trail-out.
11. (8:23) Start Again — A surrounding, cinematic soundscape that could serve as the instrumental backdrop for a film or TV production. Quietly meditative and sustaining over its 8+ minutes.

1. (4:26) Overture — Orchestral intro, setting the stage for the dramatic theatrical performances to follow. Synths, strings, piano, crashing drums, woodwinds — the works.
2. (5:06) Fishing Boat — This introduces the core narrative of three shipwrecked survivors and hints at the drama to come. Bouncy, catchy tune with tinkly piano and other keys, an intricate rhythm, flowing strings and horns in the lead break. ****
3. (3:31) Cold At Night — Bold rocker. Intricate musical layers, with a pulsing muted guitar, cracking snare drum and busy orchestra swirls underneath Darnielle’s vocals. ****
4. (3:31) Dawn Of Revelation — An anthemic rocker that features powerful guitars, tumbling drums and a searing guitar solo in the lead break.
5. (4:37) Your Bandage — A gentle, soothing folk song with piano, strings and woodwinds set to a measured beat — all in a lush soundscape.
6. (3:54) Peru — Uplifting piano ballad. Piano, strings and again, an intricate drum line.
7. (3:19) Through This Fire — Swing-y, swelling throwback of a track. Interplay between strings, horns and woodwinds. Lovely. ***
8. (4:04) Rocks In My Pockets — Strummed guitar with chime-y piano and harp. Poignant moment when one of the characters decides to surrender. ****
9. (5:10) Armies Of The Lord — Opens with driving synth notes. Layers in piano, lush strings and effects. Darnielle’s vocals soar above. A highlight! ****
10. (4:29) Your Glow — Chirping synth arpeggios, piano and woodwinds contribute to a stirring, emotional tune that takes us to the apex of the story.
11. (5:22) The Lady From Shanghai 2 — Soft, laid-back and jazzy, with a syncopated rhythm and pedal steel guitar. Strings and woodwinds mixed in.
12. (3:03) Broken To Begin With — Boisterous rock closer, where the last remaining survivor accepts his fate and ponders whether “Men of old who sailed the seas” will ever know the story of what took place. ***

1. (4:09) People Can Change (Clean Edit) — Jazzy sway. Piano forward with a crisp beat and brassy orchestral swells, with backing vocals and effects. ****
2. (7:59) Seventeen — Anthemic single. Disco-flavored, with swirling atmospherics over twinkling keys. Plaintive vocals reflect on the ups and downs of adolescence. Totally worth the 8 minutes! ****
3. (2:30) Your Girl’s Upstairs — Well-done bluesy and smokey rock. Languid stroll with distorted guitar, plus raw and honest lyrics about handling relationships and the misplaced desire for control. ***
4. (4:36) I’m So Glad You Came — Another somewhat jazzy tune. Their vocals and vibe here hint at times of a slightly sweeter Allison Russell. Chime-y lead break with violin flourishes. Very 1970s sound. ***
5. (3:00) 3 Of Cups — Dizzy waltz with muted guitars, a prominent bass line and distant piano.
6. (3:43) The Butcher Is My Friend (Clean Edit) — Energetic rocker. Shimmering synths. Thumping beat. Powerful lead vocals, with nice backing harmonies. Ends suddenly. ****
7. (5:36) Turncoats — Airy, crystalline vocals over hesitant drumbeats. Piano is layered in. A little like a jazzy Joni Mitchell composition.
8. (4:44) Outlaws (Clean Edit) — Bold, expansive rock. Slapping drums, tinkling piano and confident vocals soar over the soundscape. Reverbed saxophone in the trail-out. ****
9. (2:21) Junkyard Dog (Clean Edit) — Short, light and fun pop with a pulsing beat and playful vocals.
10. (5:27) Sucker — Another tune reminiscent of The Weather Station. Jazzy and complex piano-based pop, with Dienel’s vocals wafting over the melody. False ending at 4:30 and then adds a freeform jazzy trail-out.
11. (8:47) Tough Thing — Picks up where Track #10 leaves off, veering into an emotionally sprawling closer. Jittery and atmospheric layers, with lots of brass, effects and a persistent drum line throughout.
12. (4:09) People Can Change (Explicit) — FCCs: fuck, bullshit — Unedited version of track 1.
13. (3:42) The Butcher Is My Friend (Explicit) — FCC: shitty — Unedited version of track 6.
14. (4:44) Outlaws (Explicit) — FCC: fuck (3 times) — Unedited version of track 8.
15. (2:20) Junkyard Dog (Explicit) — FCCs: fuck — Unedited version of track 9.

1. Lo-fi bleary chill wave with nice stutter step drums and strummy guitar.
2. Reverb-soaked guitar and jivey keyboard
3. Chipper hand drums and bouncy, groovy Casio keyboard melodies. Peppered with some fun 8 bit effects
4. Mellow head-bobber. Strummy guitar, retro palette, true to its title: Sunlight Hits
5. Tropical sunshine reggae. Upbeat keyboard with softly cooed vocals and a bit of vaporwave/glitch haze
6. Slick 70’s studio feel, heavy on the funk. The last 30 seconds are gorgeous wind chimes
7. Laidback downtempo with nice keyboard and guitar interplay
8. Percussion-forward with a crisp drum loop and jazzy instrumentation
9. Smoky reggae, nice guitar loops, dubby bass, lazy clouds, a few bird chirps. Really nice
10. Loose, dreamy, blossoming outro. Great stuff

1. *Cosmic MPB ballad. Steady, dead-kit drum groove with soft strings, strummed nylon guitar, and light electric piano & synth (“Lil’ Vertigo”).
2. *Upbeat, percussion-driven funk. Thick bassline, syncopated piano stabs, and a heavy drum section break around halfway (“God’s Name”).
3. *Tom-driven march into space. Nylon guitar, cosmic strings, and piano (“Boo-Boo”).
4. Light, jazzy instrumental track. Nylon guitar, flutes, shakers & misc. percussion (“Clothes Of The Dead”).
5. *Dreamy MPB floater. Slow-grooving percussion, pulsing wah guitar, warm flutes, and light nylon guitar (“Slow Creature”).
6. Ballad evoking “blissful exhaustion.” Strained falsetto lead vocals, strings, sax, keys, and nylon guitar (“It’s Worth It”).
7. *Swirling psychedelic MPB. Funky bass, soft flutes & electric piano, phased nylon guitar (“Holy Plant”).
8. *Slow, hazy funk. 70s-drum-machine-style groove, keys, sax, wah guitar, chorus vocals only (“Natural Gestures”).
9. String-centered ballad. Swelling strings over sparse drums, bass, and strummed nylon guitar (“Inner Revolution”).

1) (7:18) skull crushing head nodding intro to 2/4 old school hardcore punk beat (1980 think China White) but slathered in the aforementioned bleak dark distillate, downshifting to the crawling.
2) (11:46) begins with Many Blessing dark drone noise, then a slow plodding bass led bleak blackness, enters, the slow Raping a Slave (Swans) plod, and a soaring symphonic feel toward end, oh jesus, you are my only….god.
3) (13:53) this gives Michael Gira a bare bottomed spanking teaching swans how to doom sludge crawl. The scene where the girls are in a big cauldron of you know what comes to mind (please dont see that movie)
4) (1:52) The Noise You Need. Need. You Need. The Noise
5) (14:01) begins with a bare bottomed pounding of Michael Gira’s backside, falls into a deep septic tank, crawls out into daylight, leaves us confused
6) FCC obscene if I heard the words “cunt” right. No safe harbor
7) (9:04) a final crushing of any remaining intact skeletal structure one might have, a shallow grave, if kicking dirt upon us counts as such, maybe even a golden shower upon our pitiful final resting place

1) (9:36) dark and ominous if minimal.
2) (8:52) same as prior if a tad more droney.
3)* (9:31) low drones, minimal and even creepier.
4) (9:03) garbled muffled hand held cassette recordings, mangled (or sounding like, if you dont know what that sounds like here’s your chance)
5) (9:14) more creepy minimalism. This final track is a reminder we should all be very grateful that people like Bryan exist and do this in their own privacy yet share it with the world.

1) (6:36) contemplative piano with subtle atmospheric strings and near subliminal electronic washes.
2)* (6:04) pensive with nice ambient drone, birdlike tones, Eno-Budd come to mind.
3) (4:32) cinematic, dreamlike finely woven, less acoustic driven
4) (6:57) emotive, oboe-like tones, atmospheres laced with bursts of piano
5) (3:32) dreamlike, distant ambient drone with hypnotic piano minimalism and swirling synth melodies
6) (5:44) exalting, uplifting piano and atmospheres
7) (4:29) sombre, with minor tones strings heart pulling
8) (5:42) conclusive, looping P. Glass’ish undertones to slow phrased washes and piano

1) Indonesia: spoken word about Gaza laced with disturbing gunfire sounds
2)** (0:55) Mexico: kick ass 1 minute blast of dirty thrash speed core with old school indecipherable growl vocs
3) (7:42) Indonesia: harsh noise, live feel, think Merzbow full on brutality
4)* (4:54) California: beautiful grinding noise with drone aspect but still harsh, subgenre Hypnotoad Noise.
5) (5:37) Malaysia: i think this one broke my bandcamp. See also Hannatarash, Merzbow, the Gerogerigogo (sp?), super harsh early 90’s Japanoise.
6)** (8:08) some former kzsu dj guy who still lives here… Beautiful swallowed Hypnotoad Drone, a meditative reflection on the state of the inside of one’s head after time on this planet, yes, emptiness, atmospheric, noisey, ugly at times. I like this one best and not just cuz i want to be Diego Manuel when i grow up
7) (4:34) Indonesia: insanity returns, circuit breaking apocalyptic cacophony, dont answer the door the landlord came armed this time

1. (A1 4:41) dark industrial techno 80’s feel, heavy analog delay/echo and driving feel with heavy reverb tripped out vocals.
2)* (A2 4:48) driving beat, electro but with real drums and cool guitar, sound bed for understated fem vocals, cool minimalism.
3) (A3 2:26) cool samples (Buffalo Girls go round the outside… John Bonham wondering where a confounded bridge is) basic jungle electro beat and swirling cool sounds.
4)* (10:19) improv guitar, distant vocalizations, dark subtle electro beat.
5) (1:25) Phillip glass feel, looping orchestral instruments
6) (3:15) slow plod with fem melodic vocals lyrics delivered near spoken word though, sci fi themes
7) (B1) driving epic electro rock girl vocs
8) (B2) (2:37) silly French accented girl vocs over sillier walking jazz sampled fun
9)* (B3) (3:03) driving electro again, minimal, play this one with Popcorn (the song), not that they sound alike but it has some bouncy analog synths
10)* (B4 3:12) trippy analog tones with simple electro beat til 0:40 real sounding drums appear and this gets more beat driven and textured
11) (B5 3:43) simple beat, French girl vocs reappear, fun
12) (B6 11:15) chill simple beat, heavily treated vocs, and direct in guitar work

1. (3:17) No Rain, No Flowers – catchy pop tune to start the album, including opening and repeating guitar riff and sing-a-long chorus.
2. (2:35) The Night Before – another catchy song, with a driving beat that carries you on a fun but short ride.
3. (2:54) Babygirl – opens and continues with a rhythmic “back and forth” piano as Dan’s words celebrate his special “baby girl”.
4. (3:37) Down to Nothing – a slower bluesy number with a matching lyric that describes a lost love that he longs for and hopes to meet again.
5. (3:18) On Repeat – with a quick rhythm section, vocals are front and center. This is another listenable single.
6. (3:42) Make You Mine – starting with a piano and bass, this is a pleasant listenable track that includes strong female backing vocals. FCC fucking (once)
7. (3:32) Man On A Mission – this song kicks off with a cool solo electric guitar before catchy vocals that give way to the group chorus with a simultaneous hard guitar that is typical of Black Keys.
8. (3:06) Kiss It – with a driving rhythm, some nice harmonizing/
9. (2:53) All My Life – prominent bass and a touch of funkiness.
10. (3:37) A Little Too High – lead and rhythm driven guitar matched with strong vocals.
11. (4:24) Neon Moon – starting with some acoustic guitar, this last track starts slow and picks up with a country flavor and folk tune.

1. (5:16) Minute-long droney intro with bird calls gives way to a thundering deeply-resonating beat. Flutes and chimes enter the mix before it ends in a cacophonous crash
2. (6:21) Thudding woody techno beat with a nice churning groove
3. (6:49) Deep, pulsating techno with shimmery bright cinematic twists
4. (9:32)Gyrating hardgroove techno that grows slowly as new elements (hi hats, flutes, hand drums, rumbling synth) are added
5. (5:59) Fast rumbly beat with layers maracas/shakers and panpipes. Transitions to a nice, sunny synth medley at the halfway point
6. (6:35) Heavy beat with multilayered percussion and a nice stutter step
7. (3:16) Powerful thudding beat with surreal warm washes
8. (3:52) Chugging cumbia-style beat with didgeridoo effects and gentle strings
9. (6:33) Fast heavy tribal techno with beautiful plucked guitar and string melodies weaving throughout
10. (2:29) Lightning-quick, layered hand drums with ringing horns. An epic outro

1. Bass-heavy and glitchy. Snazzy synth line and repeated vocal snippet of a woman stuttering “no drugs”
2. Humming buzzy beat with guttural snippets and an infectious groove
3. Straightforward repetitive beat with blurred-out vocal snippets, metallic thumping, and a suspenseful vibe

1. (0:55) Mystical Plosives – short album synth intro.
2. (3:20) Aerial Troubles – Starting out with beatless vocalizing, the rhythm section kicks in moving to more upbeat music with a darker message: “the numbing is not working anymore…we can’t eat our way out of it”. The tone eventually comes to a point of hope without really having the answers “the juncture invites us to provide care” and finishing with “That holds the prospect for greater wisdom”.
3. (7:37) Melodie is a Wound – a catchy and upbeat tune that moves into a more political message about the troubled state of the world, especially for those not powerful. The song transitions into a separate instrumental song about half-way through. This break is where the “edit” version on the B-side of the single stops. Included in this second half are synth drums accompanied by a keyboard jam and distorted electric guitarish sounds.
4. (6:25) Immortal Hands – soothing music that features play between jazzy drumming and synth piano keyboard. Halfway through, the time signature changes and we move into an instrumental with horns the rest of the way.
5. (4:37) Vermona F Transistor – An upbeat track, accompanied by flute.
6. (4:21) Le Coeur et La Force – With a french lyric of short phrases, Lætitia Sadier sings with clarity and purpose, accompanied by harmonizing backing vocals.
7. (4:16) Electrified Teeny Bop! – fast-paced synthesizer instrumental trip. Guitar chords and solos jump into the mix off and on throughout. Keyboard melody comes in and out as well.
8. (4:16) Transmuted Matter – smooth-jazz like start before the ethereal solo and backing vocals soon sing to us about heart, soul, riddles, and love. A plucking electric guitar and bass provide a backing foundation throughout.
9. (6:04) Esemplastic Creeping Eruption – “Exploration of inner world, the bountiful tap” are part of the lyric that touches on words of light and dark through the soundscape until about 2 minutes into the song. Then the tempo picks up a rock beat as a guitar and distinctive drums are added. The chorus is “It’s dark, it’s dark, I will abide, it’s dark” as if now the vocalist has surrendered to a harsher world. This gives way to a return to the slower and more soothing sound about a minute later with harmonizing vocals that will again switch back to guitar and “It’s dark”. The interplay works for a couple of rounds. The last 45 seconds of the song moves into a funkier bass and drum beat sound with background sound effects.
10. (3:41) If You Remember I Forgot How To Dream Pt. 1 – with some French language at the beginning and then off and on throughout, this is a fast and upbeat pop number, driven by prominent bass, guitar, and piano.
11. (5:35) Flashes From Everywhere – starting out like a slower ballad, the song picks up to reveal another upbeat track with flute, driving bass, and added drum and guitar fills. The song ends with a soft flute and melodic guitar interplay that fades out.
12. (5:33) Colour Television – has a reggae-like tempo with commentary on the television medium. The pace picks up in the middle but the same background remains throughout the song’s journey.
13. (2:56) If You Remember I Forgot How To Dream Pt. 2 – coming in for part 2, the song boasts a bolt synth beat and conveys an optimistic message with many words or phrases often devoid of sentences, like “without fear”, “power to choose courage”, “wisdom, faith, courage are necessary”, and “To heal”.

1. (0:57) Incidental I—Drifting ambient interlude with windswept vox
2. (6:34) * Doberman—Pummeling blackgaze, closer to the sound of Sunbather, propulsive drumming in last three minutes
3. (4:15) Magnolia—Aggressive alternative rock styling of blackgaze, extremely driving riffage and drumming in last two minutes
4. (5:48) * The Garden Route—Atmospheric pretty guitars, gets very driving a few minutes in and it’s amazing, eloquent lyrics: “drinking silver from a dim spring of mercury / on the outskirts of a desert / the lifeless slither / still we seek, thirsting and wandering”
5. (5:03) * Heathen—Dream pop that’s very Slowdive and alternates with driving blackgaze passages, anthemic, would scream along to this
6. (8:15) Amethyst—Generic blackgaze, not that memorable
7. (4:21) Incidental II (feat. Jae Matthews)—Spooky noise track with female vox, kind of Chelsea Wolfe
8. (6:24) Revelator—Generic blackgaze
9. (5:23) Body Behavior—Really bad blackgaze, don’t like this or the colors
10. (2:08) Incidental III (feat. Paul Banks)—Spoken interlude, intriguing lyrics of sorrow and love
11. (7:28) * Winona—Cosmic, with pretty guitars in last few minutes before the blast-beats return, sounds very similar to “Dream House”
12. (5:37) The Marvelous Orange Tree—Thunderous blackgaze, a lot of emotions, more eloquence “with my endless illness, walking into blackness”

1. (1:11) Intro - The Only Way—Gazey ambient interlude
2. (4:19) * EVERYDAY—Joyous cosmic jazz, sounds amazing live
3. (4:12) * Bad Bye—Meditative, cool syncopated, soulful female vox, love the trumpet on this
4. (5:02) * Car 16 15 A—Whirling frenetic, really wild sound
5. (3:44) Must Have Known—Chill male vox, more soul and R&B, very Robert Glasper crossed with recent Hiatus Kaiyote
6. (4:34) Off to Space—Joyous jazz that never takes a breather, excellent bass groove at points, colorful the way Hiatus Kaiyote is
7. (6:26) * Iron Giraffe—Restrained and smoke-filled, more Miles Davis than John Coltrane, cosmic still
8. (6:27) * Hung Up On My Baby—Wild kaleidoscopic textures, Hiatus Kaiyote again, trumpet takes center stage
9. (6:39) * Curiosity—Dreamlike restrained haze, love when the piano comes in, great closer

1. (2:40) ***** Glitchy cowbell intro, chanty/oblique/dancy back-and-forth, cool and ethereal and somewhat nightmarish (dense and cyber chorus) -- LAST 15 SECONDS are a sort of strange spoken word outro (a gruff older man commenting on the band), you can/should cut this off you want
2. (3:11) ******** Broken, tragic, glitchy take on a classic melody; propulsive and louche and multi-textured... hard to describe, but great stuff; the "you spent a grand at the mall" line in the chorus keeps getting stuck in my head. Like a deranged vaporwave music box
3. [FCC: "some Fripp shit", almost inaudible, only clear from official lyrics] (3:08) ***** Strummy/glitchy low-rez at first, moves into a more MGMT-type snarly sound, lush and pretty chorus; some yelling and chaotic clattering, cyber-nightmare
4. (2:14) ***** Strummy uptempo rocking playing off against gauzy, heaven-like dreamwave sounds; very pretty and interesting, if short and simple; ends in percussive clatter, then long quieting buzz
5. (2:54) ***** Acoustic/folky but snarky sound, with sweet and hooky '70s soft-pop chorus: "JUST CALL...", rollicking and catchy
6. (4:53) ***** Whispery uptempo, gauzy and dense and both very modern/glitzy and decadent; ends rathe suddenly

1. (3:52) * Doesn’t Exist—Chiming guitars, gloomy alternative rock groove
2. (3:30) * Blue Nothing—Total head-nodding grunge, rather generic textures but we can still jam to this, “elegize what you’ve lost and you know is gone for good”
3. (3:36) Dizzy—Warped Tour alternative rock, anthemic (FCC: f*****)
4. (3:38) You Stay You—Melodic chiming guitars, swaying, “I can’t change you,” the single (FCC: f******)
5. (2:57) Dull—Acoustic lament, fairly complex guitarwork, “This song is about a job I had many years ago that completely crushed my sense of spirit, creativity, and zest for life. It dismantled my soul to the point that I wouldn’t even know what I’d do if I ever regained it.” –Cesco Montesanto
6. (2:58) Bliss—Intense pummeling alternative rock (FCC: s***)
7. (4:08) * Surfer—Chiming alternative rock, existential, features Jon and Erik from Balance and Composure (amazing band) on vox and guitars
8. (4:46) Is It Safe?—Generic alternative rock, actually kind of positive, cool guitar breakdown toward the end
9. (1:02) Quinoa Valley Recording Company—Muddled Alex G-esque voice interlude
10. (3:54) Take It Easy (On Me)—Extremely driving alternative rock, apparently a reference to The Eagles, eloquent lyrics
11. (1:12) (tell me your darkest memory)—Primitive vox and piano, cool closer

1. Down-tempo jazz-funk that slowly builds in intensity. ~1:30 intro w/ heavy-reverb keys and drums. Bass and horns join after. Electric piano solo.
2. *Soaring jazz-funk groover featuring live guest vocals. Intro w/ jazzy piano over drums, bass, and keys – intensity builds before vocals come in after ~2 min.
3. Latin-tinged jazz house w/ vocal samples, horns, synth bed, and keys. Synths pull back ~3 min in, opening up space for the bass and keys to turn up the funk for the ending.
4. *Medley of an original and a song by American jazz pianist Hilton Ruiz. Keepin’ It Jazz alternates between upbeat jazzy house sections w/ blaring organ lines, horns, & electric bass, and deeper grooving sections w/ sample-style vocals, synth bass, and horn solos. New Arrival keeps the alternating theme, but w/ an Afro-Cuban feel and hard swing.
5. Deep house w/ dark synths, syncopated drums, synth bass, & vocal samples. Takes a psychedelic turn towards the end w/ end swirling synth and horn arpeggios.
6. *Latin percussion intro, then jazzy bass noodling over keys and synths. Soloing from electric piano, trumpet, and electric organ.
7. *70s jazz-funk feel over a more modern house groove w/ horns, keys, electric bass, and a vibes solo.
8. Cover of a 90s house classic w/ a live vocal duet, funk bass, horns, and electric organ.
9. *Driving Latin-jazz-house. Percussion intro, then jazzy syncopated keys, funk bass, vocal samples, and horns come in. Soloing on the keys and sax.

1 ** mid-tempo. A wonderfully retro & sweet song about breaking up. Sounds like the Ronettes with the full Phil Spector treatment. killer organ solo (3:02)
2 * mid-tempo. Wistful memories of past times. It’s slightly country, slightly pop (5:05)
3 * mid-tempo, bouncy pop. Regretful memories: we once had a chance but it passed (4:26)
4 *** mid-fast Cajun dance. Nashville steel guitar and Louisiana fiddles are a hoot. It’s about hooking up after a party, but very sweet, not raunchy. A very fun song (3:08)
5 slow waltz time. Patti Page-style tear jerker. “Oh, darling please come back” (4:33)
6 mid-tempo. Carole King could have written this for the Shirelles (2:26)
7 mid-tempo toe tapper. I lost my love out on the road. Hints of classic C&W (4:12)
8 mid-tempo. A bluesy song about being abandoned by mama (4:24)
9 * slow, folky, sad & nostalgic. Lovely singing with simple acoustic accompaniment (3:38)
10 mid-tempo. strange Frankenstein-like tale: Frankie has brought past-love Eva back to life by sewing together the pieces. Eva is unhappy. Good halloween song perhaps (4:26)
11 * slow. Remembering last night’s first embrace. A dreamy, oddly melancholic feel is enhanced by lush strings (5:29)