Vinyl single release from Midlake before new album

Midlake has announced the release of a new limited-edition 12″ single featuring two songs from their forthcoming album The Courage of Others. The songs on the vinyl-only release are “Acts of Man” b/w “Rulers, Ruling All Things” and it is available in stores now.

http://www.midlake.net

Free Downloads from Silber Media

Four MP3 releases from Silber Media are available for free download (a Christmas compilation, live EPs from Remora & Aarktica, & a soundtrack by Small Life Form – more info below) are all available at www.silbermedia.com/downloads.

White Silber – A Cold Slow Xmas
MP3 compilation 2009 | Silber 079
25 tracks, 105 minutes
What’s there to say about this compilation? Old friends & new friends doing mainly original compositions & mainly instrumental pieces. An artist roster of Aarktica, Small Cities, Charles Atlas, Andrew Weathers, This Quiet Army, Electric Bird Noise, Lullabier, Bryce Eiman, Polar400, Miss Massive Snowflake, Gorgons, Origami Galaktika, Remora, Lozninger, Fornever, Moodring, Subscape Annex, Carta, Small Life Form, Zanzibar Snails, Moral Crayfish, Northern Valentine, Medit, & Yellow 6. So a solid representation from the Silber roster, the 919Noise scene, all our old friends, & some folks we’ve just met. I hope you dig it all & maybe find a new favorite band or two. Personally I’m pretty pleased at how it simultaneously goes all over the musical map & remains cohesive. Noise, beats, slowcore, found sounds, guitar walls, & occasionally things that could pass for rock & roll.

Aarktica: Live at KUCI 6/15/05
MP3 EP 2009 | Silber 083
5 tracks, 31 minutes
After the release of Bleeding Light, Aarktica did a short West Coast tour with most of the full live band. During this trip the band was invited to perform live on the air at KUCI in Irvine, CA. These tracks, recorded live, capture the rawness, tension & dynamics of Bleeding Light-era Aarktica & represent the only live shows done outside of New York City for this album. A very different animal than the on-record Aarktica most know, the live shows of this era featured the virtuosity of free jazz greats Mike Pride & James Duncan on drums & trumpet, respectively Just listen to the drum breaks toward the end of “A Shadow Knife,” & the trumpet solos on “OJ Gude.”

Small Life Form: Lost Kisses Soundtrack
MP3 Album 2009 | Silber 081
16 tracks, 68 minutes
When the time came to make a soundtrack to the Lost Kisses cartoons, Small Life Form’s brand of electro acoustics & aggressive ambient seemed like a great fit for the stories. The music is loop driven & sometimes barely noticed & at other times feels like a laser beam straight to the brain threatening to completely wash it clean. The soundtrack to an emotional acid trip – not necessarily positive or negative or menacing or soothing, but very physically present.  The instruments used are the standards of the recent live Small Life Form shows including copper pipe, triangles, melodica, pitch pipe, harmonica, microphone feedback, & voice all washed & sculpted with distortion, reverb, & delay.

Remora: Guitar Antihero
MP3 EP 2009 | Silber 084
1 track, 25 minutes
A Remora performance to push guitar to the next level from a standard Remora show, the sound was boosted to the next level by using five guitars, a bass, & four amplifiers instead of the standard single guitar & amp. The additional guitars were staged around the main amplifier to act as drone instruments. Probably the loudest Remora show ever (reports are it was heard clearly a block away) & often on the cusp of losing control of the wave of sound, the piece ended with Mitchell nearly throwing up from the volume exposure.  Still the music somehow ends up as soothing as it is menacing.

Afterlives – A Ticking Clock I Couldn’t Stop

A little more than 10 years ago my sleep patterns changed, leaving me with an additional two to four twilit hours to burn away nightly. I had already started to obsess over music: handwritten wishlists began shifting from comic books and video games to the more repeatedly-enjoyable and “grown-up” compact discs I wanted, and any money I could earn or do without spending on lunch at school instead went toward attempting to buy out my older sister’s less-played albums. A starvation was born – and with little more than a desk lamp and handed-down stereo system to keep me company, I found that my losing streak against adolescent insomnia proved useful in allowing me to feed that growing interest in music and nurture my need to hear more. I would soon stumble across a pair of local college radio stations that played enough of the heavy rock and fledgling metal I was interested in to make me officially take note and keep coming back to listen. More importantly, they were my first exposure to the catch-all genre label “indie rock”. If ever there were a branching point where my listening habits diverged for the first time, it was during these late night absorptions of the arts.

This uncharacteristically personal lead-in serves as an apt introduction to the work of William Barrett’s introspective home recording project Afterlives. Like many of the independent artists that have risen above obscurity in the Internet Age, Afterlives has benefited from an extended sphere of exposure; the younger brother of Have A Nice Life’s Dan Barrett, William was coaxed into releasing A Ticking Clock I Couldn’t Stop via homegrown specialty label Enemies List, effectively breeding the material into a preexisting fanbase that was eager for his deeply affecting and delicate lo-fi. Sharing not only a surname but an aesthetic as well, it is clear that both Barretts prize experience over technique, as the best moments across A Ticking Clock I Couldn’t Stop’s nine tracks emphasize the imperfections that once made indie rock so endearing and distinctively relatable. At a time when the genre’s biggest names are mining orchestral 60s AM pop and shambolic folk, an act like Afterlives is a welcome break from these newfound formulae and a nostalgic return to what “bedroom” recordings used to accentuate: bare honesty.

It’s almost a shame that the music of Afterlives has to be branded as “outsider art” – it plays extraordinarily close to my own intimations of some of the bygone songs I was never able to identify late at night, years ago. I’m sure I’d have been struck by hearing the spindly phrasing of the words, “an army of imperfect animals,” bent over winding guitar in “All Teeth”, causing me to reach for the notebook on my nightstand and scribble down whatever cryptic identifiers I could to research during a free elective computer lab the following day. The gauzy layers that envelope Barrett’s pitch-shifted vocals and the constant clamor of percussion on “Sunderban Tigers” would have been unwound and redressed with care as I lied in wait for the song’s frenzied end; sister digression “I Am The Heroic” no doubt would offer transfixing pause, the steady-yet-uncooperative drumbeat and klaxon peals seemingly a battle against the regular movement of time, appropriate given the album’s title.

A grower, certainly, Afterlives’ A Ticking Clock I Couldn’t Stop matches its moments of plaintive isolationism with enough genuine harmonies to compel even casual listeners. Pushing through the rumbling distortion of tracks like “Snake Swallows Tail” or trekking along with the patient stride of “Distance Runner” offers ample aural reward and showcases an impressive, if reluctant talent for sonic architecture. These are songs that feel like they’ve belonged to me at some point, and every kid too embarrassed or untested to ever try their hand at music will feel a similar kinship with the all-too-human pleas rising out of the gleaming release of “Fireworks”. Though a late-comer to music, much admiration is due to William Barrett for his willingness to share the private ghost-concerts and skeletons of songs that came to him at night. With the help of brother Dan, he’s provided not only a soundtrack, but also inspiration for the countless individuals that reach out for something substantial to hold close as they try to drift into sleep.

Enemies List Home Recordings

Untied States – Instant Everything, Constant Nothing

It’s been a while since Untied States put out its last full — and excellent — album Retail Detail, but Instant Everything, Constant Nothing proves that the band hasn’t been twiddling its thumbs. The album picks up where the last left off: equal parts experimental expression and solid post-punk, it delivers on the band’s past promise. Even if band members Skip and Colin remain the only constant members of Untied States, they seem always to find like-minded collaborators to flesh out the compositions.

This recording marks Untied States’ leap to a more outfitted recording studio than had been the case in the past. There wasn’t anything wrong with doing this kind of music on a budget in the past, but this album sounds bigger and more complete somehow. “These Dead Birds,” a track that had been released between albums, shows off the band’s wilder side. It’s non-linear and jagged, moving through passages that veer from pacific to incendiary. That’s part of what Untied States does so well: give you something that you can easily digest and then punch you in the face. There aren’t many bands who can switch from pretty to intense or swing from expected to unexpected with the same kind of command over the material. “Unsilvered Mirrors” is another example of this Untied States way of doing things. It’s kaledioscopic where “Holding Up Walls” is direct and forceful.

There’s always a tension between the melodic and the aggressive in Untied States. The melodies rarely go where you expect them to and they often involve a few discordant guitar notes to barb themselves (a good example would be the charging “Not Fences, Mere Masks”). The soaring mini-choruses of “Delusions Are Grander” get a real working-over in other parts of the song, where the id triumphs over the rational. There’s a near-constant, low-volume chaos of electronic noise that haunts these tracks. Sometimes the electronics bubble up to the surface, as on the single “Bye Bye Bi-Polar,” a sharp example of all the things the band does well. It’s an object lesson for developing bands in how to walk the line between creative experimentalism and self-indulgent noise. While this song stays away from the trap of solipsistic navel-gazing, many others wouldn’t have been able to keep from the temptation. The song knows just how long to test your patience, just how long to confuse you, and just how to bring you back to its center before spinning your head again.

Every track on this album reveals something of the band’s creativity, right down to the noisy bumps in the road of “Wrestling With Entropy in the Rehabbed Factory,” with its slightly Radiohead overtones. Opening track “Gorilla the Bull” is in some ways the most conventional of the tracks here, and even it has sections that are like sonic tornadoes. It’s always a roller coaster. You never know what’s coming next with these guys, and that’s what makes for compelling listening. What a great way to end 2009, and let’s hope Untied States doesn’t wait another few years to follow up on this one.

Friends of Friends – Deep Search

Music is never just music. It’s never just “I hear this song, I like it.” There’s all sorts of preconceptions going into it: “what’s on the cover of this album, where’s this band from, who are their influences on myspace, what do they look like, holy shit is that Lars Ulrich? Why’d you have to go and suck man?” I go through all those questions usually before I even care about what they sound like. Call me shallow, just because I’m in the reviewer’s seat don’t mean I’m no God, and you know you do it too. Here are those questions answered in sequential order:

1. The cover is a hodgepodge of friendly and fun Polaroids that all contain scenes familiar to what I do with my friends. Thumbs up.
2. They’re from Tallahassee, and upon hearing them, that whole Florida vibe, um, flourishes.
3. Their influences on myspace aren’t there. ENIGMATIC!
4. They look like they’re in a Northern Florida whatever-the-fuck-you-wanna-call-what-No Idea-releases band.
5. No, there is no Lars Ulrich.
6. “Come on dude, you try to shred as hard as we did on our first four albums and lose Cliff Burton, then you tell me if you wouldn’t be making the Black Album too.” Touche, Lars. Touche. I guess without Cliff Burton, nothing else matters. Except that Megadeth started to suck around then too. And they never got Pushead to do their artwork. (Note: Lars Ulrich did not say that. I did.)

Finally, we get to the press release. Generally rife with bullshit attempting to convince its reader that this usually mediocre band is somehow sidesplittingly gut wrenchingly amazing and play their notes in a new revolutionary way that no one else ever has, their bio is an incredibly humble portrayal of the band. A portrayal so honest that it almost doesn’t give them enough credit.

On to the music. The album starts out with a sound sample blithering something about “if you don’t wanna burn then you better turn” until raging into a very good opener, dual vocals and dueling guitars, a formula for a good time. And that’s what this album is. The tracks keep coming, whose constructions are complex but never lose you, whose guitars put down their guns and walk while they rock down the street together and whose vocals feel distinctly Floridian, somewhere between Tom Gabel’s political throating (“I’m Not Showing Up for Dinner”, the most prominent line of the third track “Some Kind of Fake”, recalls As The Eternal Cowboy Gabel vocals) and Chuck Ragan’s rasp, but use that as a reference point, and not a definition: despite similarities, they’ve got their own thing going on. At times some of the breaks seem gratuitous, but always build back into something that brings it all back to good. Not great, not bad, just good. A nice, humbling good.

In general, the entire album is full of good tracks composed of good parts. The lyrics never stray too far from the personal politics of just being a decent person, which seems to be what these dudes are all about. They’re just some modest dudes making some decent tunes and if you ain’t down with that then you ain’t down with the clown (and, in this instance, that is something I would advise you be, although in any other, avoid at all costs.) The press release says it best: “punk is less about innovation and evolution than it is about capturing a fleeting moment” and this record does that pretty well, the fleeting moment of course being rockingness. The entire album is available for free download (for a limited time, at least, and it’s most certainly worth purchasing as well) at the band’s myspace.

Year in Review: Albums We Love that Didn’t Make the Final Cut

Each year, we here at Delusions of Adequacy compile our consensus staff list and publish it for all to view. But every year, we are left with a few albums that we, as individual writers, feel should have made that final list. So in an effort to shine light on some of our forgotten favorites, we have provided an album each that we feel should have made our final list. And who knows, amidst all the diverse and various styles, you may come to find something and end up loving it too. By Bryan Sanchez

The Cubists – Mechanical Advantage
(Semi-Precious)

While its scope may be wide-ranging, Mechanical Advantage is hardly an inconsistent and rambling affair. At the core of each track is an experimental psych-rock/shoegaze aesthetic and an ethos to conjure up a compelling eddy of sounds that please the mind and satisfy the soul, no matter what the stylistic outcome. From poppy alt-rock that’s all sleek and gritty like something off a Spoon record, to punchy and textured guitar-rock like early Radiohead, to soft and airy synth lines and shoegazing guitar swirls that wouldn’t be out of place on a Deerhunter disc and abstract but soothing song structures with effects-laden and hazy electronics.

The Cubists prove they have a thirst for adventure and pop experimentation as they creatively transform their influences into an integrated and complex sound delivered in various arrangements with a multitude of instruments and effects. It is difficult to absorb all at once and it may take some open-mindedness and a few attentive spins before the brilliance of this mischievous, clever and diverse indie-rock album takes hold, but it is well worth the effort. By Matt the Raven

Guignol & Mischief Brew – Fight Dirty
(Fistolo Records)

Although Fight Dirty features two bands it’s definitely a cohesive joint effort, not a compilation. Comparisons to other popular bands that fit in to the rag-tag ethno-mashup bunch are obvious, but what Guignol & Mischief Brew have is something entirely different. The songs include elements of punk, folk, Celtic, gypsy, jazz, and more, but Fight Dirty stands alone as one of the most entertaining albums of its kind in 2009.

The number of styles these guys pull out of their musical hats is astounding and it’s hard to believe they don’t always play together. While some melting pot style bands mimic whatever traditional styles they can muster, many of these groups come off sounding forced. Despite having no take on the backgrounds of the members of Guignol or Mischief Brew, you get the distinct feeling that these guys have the Old World surging through their blood in tandem with their American-ness. By Jenn O’Donnell

Maribel – Aesthetics
(Quince Records)

Norway’s Maribel is the sonic love child of My Bloody Valentine and Serena-Maneesh.  Band members Pål, Liv, Kjetil, and Lewi blend the dreamy with the dissonant, the melodic with the abrasive, and the languorous with the propulsive. The resulting mix achieves a tense balance between acute, relentless rhythms of pounded drums and cymbals, stinging and fuzzed-out guitar riffs and drones, floating layers of lucent, but impassive male and female vocals, and the sound of static that clings to all of the songs. For those awaiting with bated breath a new My Bloody Valentine album, it’s time to move on to Maribel. By Jen Stratosphere Fanzine

Flight of the Conchords – I Told You I Was Freaky
(Sub Pop)

Whilst the second TV series of “Flight Of The Conchords” – and hence this tie-in album didn’t quite match the precision-focus of the first season and its long-playing companion – Kiwi self-exiles Bret Mackenzie and Jermaine Clement still delivered highly-addictive quality goods with I Told You I Was Freaky. Once again, the strength of The Conchords lies in affectionately satirizing portentous musical genre-definers, squeezing more lyrical gags than is strictly possible into 2-3 minute songs and sinking in melodic hooks that stand up to sustainable listening.

Through subverted hip-hop (“Hurt Feelings”), self-deprecating R&B (“We’re Both In Love With A Sexy Lady”), demented disco (“Too Many Dicks (On The Dancefloor)”), cod-reggae (“You Don’t Have To Be A Prostitute”), barber shop a cappella (“Friends”), Baltic lamenting (“Petrov, Yelyena And Me”), hippie-balladry (“Rambling Through The Avenues Of Time”), ‘80s electro-pop (“Fashion Is Danger”) and unpretentiously divine twee-pop (“Carol Brown”), I Told You I Was Freaky is undoubtedly one of 2009’s most exuberantly eclectic guilty pleasures. Admittedly, it could prove to be an ephemeral choice by this writer, ripe for future embarrassment, but occasionally exulting something in the recent present isn’t such a bad thing. By Adrian Pannett

Lambchop – Live at XX Merge
(Merge)

Choosing this one is kind of cheating as it doubles as a live album and video of Lambchop’s now legendary performance at the Merge 20^th anniversary shows. The consistently underappreciated band showed up 11 members strong, complete with a horn section, and plowed through a set showcasing their varying range of country, soul and late night ballads. Culminating in a frenzied performance of the little known “Give It,” a song by the electronic duo X-Press 2 & co-written by Kurt Wagner, found the Lambchop frontman leaping out of his seat like a crazed Southern preacher, twisting the mic stand, gesturing wildly, and so completely lost in the moment before reciting the chorus to “Once in a Lifetime.”

Beforehand, no one could have predicted their set would be the highlight to XX Merge but as it ended and the chills were dying down, everyone in the club knew it was a performance for the ages. Live at XX Merge is a brilliant reminder of how mesmerizing this band is, as well as serving as a trip down memory lane. By Matthew Smith

Mulatu Astatke and The Heliocentrics – Inspiration Information, Volume 3
(Strut Records)

Combining the talents of an Ethiopian jazz legend and recent trendsetters that are rightfully making a name for themselves, there is pure magic seeping through every corner of this astounding work. Unlike the music many of us are still salivating from Mulatu Astatke, these new works are entirely newly composed music that branches out into the world of jazz, funk, soul, hip-hop, electronic and, of course, African music.

The two’s contributions are hard to decipher because of their ability to meld their ideas into one boiling pot of delicious goods. The African chants that are combined with trumpet bellowing abruptly jump into a smattering of bumping funk on “Masenqo,” there’s also the boisterous Bari sax and rhythmic pounding of “Fire in the Zoo,” then there’s the mesmerizing sax work on the jazzy “Chik Chikka” and then the brooding, creeping trumpet and Coltrane-esque sax on “Dewel;” each is a representation that united, fit into one cohesive seam of musical brilliance. A collaboration that transcends any preconceived notion of art, or even time, the third volume in the Inspiration Information series is something that needs to be heard by all. By Bryan Sanchez

Jeremy Jay – Slow Dance
(K)

Too busy flying over moonbeams to cause much disturbance here on Earth, with his second full-length album, Slow Dance, Jeremy Jay flew under the radar. That’s a shame since he is one of the few musicians who isn’t already known across the world who is playing around with a theme of heroism of the rocker archetype, albeit with a splash of fantasy and corniness.

Best, he doesn’t just tell stories; he lives them. With minimal arrangements, pulling liberally from the traditions of R&B, garage, and new wave, and reminiscent of a more effeminate Jonathan Richman, Jay tells of walking the streets of a lonely town in a pea coat, riding a horse through the sky, cruising the local pizza club with his crew, dates of hot chocolate and ice skating, and a rocker transforming a roller rink into heavenly grounds. This is all executed with hooks that stick after the first listen and a charismatic self-confidence that gives the listener faith in the idea that those small heroes can remind you of the few big things worth living for. By Greg Argo

Passion Pit – Manners
(Columbia)

You can thank Passion Pit and their exuberant 2009 debut for providing the city of Boston with a fresh sense of musical identity. With little to speak of for the past nine years (save the occasional Pixies anniversary or reunion), the Hub’s residents had no choice but to tout the rise of Irish punk rockers, The Dropkick Murphys, thanks in large part to a couple of Red Sox championships and placement on the soundtrack to Martin Scorsese’s The Departed.

Then came along Manners, an unabashed sugar-fest of electronic dance rock that exploited all of its youthful whimsy with heavy doses of melodies, dense keyboard textures, and vocalist Michael Angelakos’ honeyed falsetto. Musings on human anguish and despair were juxtaposed with the most joyful synth-pop this side of the 1980’s. Just listen to the ear candy of “The Reeling” or “Sleepyhead” and try your damndest not to flail around in total ecstasy. By Adam Costa

Chord – Flora
(Neurot Recordings)

Hailing from the Windy City come Chord – an innovative collective (not a ‘band,’ per se) that seeks to come together under the unifying expression of just that, the chord. This is the type of music that is realized only when the individual artists work towards the same transcendent goal: rich, textured drone created by methods of deconstructing a chord and dispersing each individual note to the composite members (Chord boasts a rotating roster of talented individuals). This gives their loosely structured pieces plenty of space for the expression of the given chord, while also creating a textured enormity that immerses the listener throughout. As they, themselves, say, “To be in the presence of chord achieved is transcendent.” By Kyle O’Donnell

Free Sampler from 4AD

My Majestic Star releases new album

Hidden Shoal Recordings releases the new album I Haven’t Got It In Me by Perth-based post-shoegaze outfit My Majestic Star.

On third album I Haven’t Got It In Me, My Majestic Star continue to showcase their exceptional command of atmosphere and tension. The album sees My Majestic Star merge weightless daydream pop with droning shoegaze and even a smattering of slowcore. I Haven’t Got It In Me expands upon the immersive and dynamic soundscapes of previous My Majestic Star releases with its lush and subtle songcraft, and for the first time features the stunning vocals of the band’s cellist, Miriam Braun, alongside Chris Mason’s distinctively dreamy tones. The album swims in uppers and downers, all the while painting an intimate yet brooding landscape for the listener to traverse.

Best,

The HSR Team
Label Site: http://music.hiddenshoal.com
Label Store: http://agora.hiddenshoal.com

Free song download from The Cloud I’m Under

“Dim The Lights” is the latest song from The Cloud I’m Under.  This time around he’s toning down the electronics and incorporating elements of punk and country.

Download:

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Visit www.thecloudimunder.com for more info.

www.thecloudimunder.com
www.myspace.com/thecloudimunder

Nudge – As Good As Gone

As Good As Gone, Nudge’s fourth full-length, arrives 4 years after their previous album, 2005’s Cached, and a plethora of activity from its contributors. Brian Foote, the only member who plays on all of the tracks here, has been putting together some DJ mixes as Leech, running the small label Audraglint, touring with friends’ projects, and mixing/producing the likes of Atlas Sound and Lotus Plaza. Paul Dickow has been busy releasing albums by his textural electronics project Strategy, running the small label Community Library, and playing and DJing around Portland. Honey Owens keeps busy making her own stark psychedelic records and touring as Valet, contributing to experimental rock collective Jackie-O-Motherfucker, touring in various other musical entities like Atlas Sound, and co-owning the handmade/vintage clothing and record store Rad Summer in Portland. Aside from making me feel inadequate, the tie that binds these three is their commitment to making music that evades easy genre descriptions, and the low key wonder of As Good As Gone represents their most coherent work together yet.

Despite their experimental nature, Nudge posses a few essential qualities. One is patience, which makes itself evident in the slow morphing and unraveling of tracks. This is on fantastic display on lead track “Harmo”, which glides around cloudlike for a few minutes as a harmonica, electronic piano, and Honey Owens’s vocals murmur in and out of shape before a little synth figure emerges, softly punctuating the track like glistening dew. “Aurolac” also takes its time, centered on a few simply stark guitar lines, and later a supple bassline. Over the course of the track, the percussion mutates from a few lonely kicks into some clattering fills and finally into some loud and slow breaks. For lack of a better way to describe this, it reminds me of a menacing DJ Shadow track played at about half speed, and its slow build from one thing into another provides a slow, pensive catharsis in the fashion that a volume-dynamics band like Mogwai or Slint never could.

Another essential quality of Nudge is that their compositional style leans toward the arrangement of discrete pieces into tense juxtapositions more than it tries to unify sound into one monolithic blast. This often gets described as dub, but the feel of these tracks is both more tumultuous and introspective than anything you would hear from Lee Perry. If echo and discontinuous, low-pitched bass figures make you dub, then I guess Nudge often fits that description. “Two Hands” sees a triangulation between detached and dreamy vocals, slinky low-then-high bass rhythms, a high-pitched guitar note, and shuffling electronic drums. After a few minutes, a fluid, talking guitar line blows back on the dub elements to show the track’s psych leanings. After the solo the triangulation returns, this time with some louder drums, extra synth pads, and a funky squeaking sound. “Tito” follows these patterns, but is even more robust, including a brasher keyboard lead, more urgent vocals by Owens, tinkering percussion, and a low squawking noise. Just hearing these tracks unfold is a great treat, as they shapeshift in a really compartmentalized, “what’s next?” sort of way.

But describing these tunes does little justice to their sense of momentum and the strange feeling they give off. There’s darkness at play here, but it’s leavened by some light sounds that sort of bobble around and chip away. It’s bafflingly odd at times, but never in a negative or off-putting way. The best way to describe it is that this is what it would feel like to be a stoned infant: not sure what to pay attention to as you’re slowly presented with a variety of pleasantly shaped and colored stimuli. Though not sure what to make of it, it is viscerally enjoyable and mentally wondrous nonetheless.

Nudge

Kranky

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