I know I’ve written about them before, but I really can’t help it. The dynamic of Lemuria and it’s male and female vocalists is like the sound of a kitten purring, two sets of warm vocal chords rubbing up against each other in a soft, supple, subtle manner.

Maybe I’m getting ahead of myself. Buffalo, NY’s Lemuria put out a bunch of 7″ singles and a split CD/LP before they got around to releasing their first full-length, which was pretty damn excellent. But where most bands spend a good while finding their voice, Lemuria seemed to have a cohesive vision of what they wanted their sound to be right from jump street. They’ve since lost the keyboards of their early releases, but it’s kind of remarkable how much their sound holds up from early singles to the full-length.

I think the track “Bee Spit” sums them up quite nicely; the bands songs are as sweet and poppy as the lyrics describe (”Sweeter than bee spit, for Christ’s sake”) and the lyrics in the two songs you’ll find below are great examples of the slightly skewed and potentially confusing lyrical bent their two primary songwriters are capable of (I have no idea what a turtle-top caravan is and neither does google).

Like I said in the review of their LP, they may not be reinventing the wheel, but these songs are honest, direct, and heart-felt as they are catchy. That works for me.

 

 Lemuria - Bee Spit [2:11m]: Play Now | Play in Popup | Download

 

 Lemuria - Who Would Understand A Turtle? [2:43m]: Play Now | Play in Popup | Download

You should still be able to find some of their stuff:
iTunes: A few split releases, but make sure it’s the right band.
Asian Man Records: CD and LP of the full-length. Can also purchase the First Collection as well.
Other merch/split 7″s: The ever-lovin’ MySpace or Art Of The Underground.

Recently I wrote a piece on a great local band. Last week I got my face blown off by another local band that was lying dormant, waiting for an opportunity to strike and stir up an entire city’s music fans into a frenzy.

Ghosts of Modern Man have long been a Regina institution, albeit one that suffers through long periods of quietude. In roughly 15 years of activity, the group has put out two 10-song albums. Twenty songs, the result of 15 years of work, an entire recorded output of songs equal to a number Frank Sinatra and Elvis probably recorded in a single day at their “peak.” Granted, I think people are willing to let a band get away with weeks and months of inactivity when their songs are so thoroughly engaging.

I haven’t seen them in at least six months, and it appears they’ve used that time to write most of, if not a whole, new album. Last Friday night they came out white-hot, playing at least five or six new songs in a row, each one faster and more awe-inspiring than that which came before. Their being brought to life is a testament to the intensity of their live machine.

Jonah Kreiser is a vision, a wonder, the way he plays guitar. The precision is unmatched in this city, likely others. The stoicism is measurable, palpable in his eyes every moment he’s on the stage. The rhythm section of Tristan Helgason and Jamie Deal are a rhythm section like few others, a crushing and ferocious two-headed, four-armed animal that cannot contain the violence it feels in it’s medulla oblongata. It finds itself leaping to its feet uncontrollably, staring down its audience and forcing them to clap along to the beat. It squeezes every possible beat out of a moment, its drumsticks are a blur. It drives one to slap at the air with its hands in a futile attempt to keep up. Stacy Hahn is a steady, studied counterpoint hitting his notes and harmonies with a detached concentration that erupts into smiles and banter with the hometown crowd between songs.

Little did I realize it would become my weekend of GOMM.

Our community station, CJTR (home of the weekly radio show that shares a name and host of this site), held it’s annual Music Garage Sale the next morning. It’s a major fundraiser; we take donations of CDs, LPs, equipment, instruments, whatever and then sell it to people. Sorting through bin after bin of CDs I managed to find a copy of GOMM’s first album, released back when they were still called Pillar and before the threat of legal action forced an already-coming name change. The only really striking contrast is the fact that Kreiser sure used to sing a lot more. Much less gruff tone. But the elements are all there in their most basic form. Listening to them brought back a flood of memories, seeing those songs who knows how many times at the Exchange, downloading “Petting Zoo” from mp3.com when it was a new service, being overwhelmed every damn time I saw them play “Lethargy Is Killing Me.”

It was such a good weekend.

 

 Ghosts of Modern Man - Blood Parade [3:58m]: Play Now | Play in Popup | Download

 

 Ghosts of Modern Man - Mauvaise Foi [4:33m]: Play Now | Play in Popup | Download

 

 Pillar - Lethargy Is Killing Me [5:23m]: Play Now | Play in Popup | Download

Like all good Saskatchewan bands GOMM left the province to find a label:
Smallman Records: Handled by mymerchtable.com, the latest CD is available
iTunes: For digital nerds

I’ll admit to ignorance on this one: I didn’t know Bob Dylan wrote, “It Ain’t Me, Babe.”

I probably should have. All the signs are there. It’s virtually the fraternal twin of my all-time favourite song of all-time, “Don’t Think Twice, It’s Alright.” Three verse/chorus structure, the detached, snarky tone, self-loathing, directional lyric…it’s practically the same song. Hell, even the use of the word “babe” betrays the knowledge, as it’s frankly quite rare to hear anyone else use that word seriously in melodramatic popular song (at least until Sonny and Cher co-opted it).

Perhaps that’s what makes the song so good, the fact that it sounds so natural in the hands of Johnny Cash and June Carter. When Dylan wants to write accessible he puts a piece of clay in other artist’s hands that is packed with dynamite. Cash/Carter, the Turtles, Joan Baez, Nancy Sinatra, New Found Glory, and even more less well-known pop/rock acts have done it. It’s a versatile bed. Interchangeable, perhaps.

Intriguing.

 

 Bob Dylan - It Ain't Me, Babe [3:35m]: Play Now | Play in Popup | Download

 

 Johnny Cash & June Carter Cash - It Ain't Me, Babe: Play Now | Play in Popup | Download

 

 Johnny Cash/Bob Dylan - Girl From North Country [3:42m]: Play Now | Play in Popup | Download

DylanTunes: They’ve got lots of Dylan. I have it on good authority that you’ll never find a better deal on anything anywhere than you will here: the entire recorded works of Bob Dylan. Literally everything, right down to the official bootlegs. Seriously. Even collections are completely intact, duplicate songs and all.
CashTunes: Lots of Cash, for a little ca$h.
And of course you realize that you can waltz in to literally any physical music retailer anywhere in the world and get some of their material. You don’t need to order it online.

I usually feel some mixed emotions when songs I love are on TV shows. I have a strong desire to see the bands I love succeed, mostly because I like the feeling of sharing something I enjoy with other people and the more successful they are the more people who will be able to enjoy it. I know that the context really shouldn’t matter as long as the band is getting some exposure but it always does. For example let us look at the season finales of Grey’s Anatomy and House.

Both episodes featured a song by a band I am totally gay for lately, Bon Iver. For those unfamiliar, this band and record have a great deal of similarities to my all time favorite artist’s debut, Iron & Wine’s The Creek Drank the Cradle. Both were home recorded, quiet affairs, featuring a dude with a gorgeous falsetto-focused voice and the type of songs that elicit strong emotional connections. This last point is what makes both great for use on the tv.

But context does matter, and I think it kind of sucks when music is used for exposition in place of character and dialogue. In Grey’s Anatomy a very short clip from “The Wolves (Act I and II)” was used to express the emotional pain of the characters by matching up the lyric “Some day my pain/ will mark you” with two second close ups of their pained faces. This might seems like an effective method, but it didn’t really allow enough time for the song to really connect with the viewer, it was over before you even got a feel for it. Clearly the lyrics were the focus, but it could have been even more effective if the songs deeper themes of pain, loss and sadness were fully realized.

Conversely, in the episode of House the music enforced that the emotions the characters felt were powerful and the situation devastating. The team was dealing with the death of a close colleague and the use of the song “Re: stacks” matched the overwhelming sense of sadness and frailty they were experiencing. The use of I&W’s “Passing Afternoon” copied the style of the Grey’s clip almost exactly, but they allowed the song to play through almost entirely, to let the song grab hold of the viewer and help them identify with those emotions, and that took it right over the top for me. I damn near started crying my eyes out. I’ve only felt REAL emotions like that a handful of times in my life and a tv show brought that on. It was just really incredibly well done, and a great example of how music can touch you in a very real way when you don’t think you have much invested emotionally.

Take a listen to those two songs, and if you can watch that episode (called Wilson’s Heart) and you’ll see what I mean.

 

 Iron & Wine - Passing Afternoon: Play Now | Play in Popup | Download

 

 Bon Iver - The Wolves (Act I and II): Play Now | Play in Popup | Download

Jagjaguwar: Pick up hard copies of Bon Iver’s excellent For Emma, For Ever Ago here, also check him out live if you can, he’s touring the universe as we speak.

SubPop: Even though I’m mad at them right now because they didn’t send me extra goodies with my last pre-order, they have tons of Iron & Wine stuff and a link the the bands site

You can get House on DVD pretty much anywhere, and you should. It’s pretty good.

Over at my OTHER blog, boobtube, I post about television, the things I see on it and the way it makes me feel. Particularly as it pertains to my feminist ideals and standards (They’re pretty simple: I am one and you should be).

So it should come as no surprise that I was watching the news Saturday. Or, I was watching the news through the hazy, muddy filter of CNN. I was watching because Obama was giving his “R0xoRZ! The Whitehouse is ours!” speech and Hillary was biting back the swelling tide of bile rising up in the back of her throat, asking people to support Obama as they have supported her.

Now, as much as I love rich, old, white dudes (see: not at all) , I feel a swelling pride when watching Obama. It’s like “Look guys! America can do it! They can elect somebody I would support! I forgot what that was like!”

And then, he got up to speak and he and his wife shared a sweet, if slightly nerdy moment where they held out their fists and brushed knuckles; they dapped. Dap’s just a cooler high five. I dapped with one of the press men the other day because he had ink on his hands. No big deal.

Less noticeable was the fact that as she walked away, Barry gave Michelle a little “yeah, baby” slap on the ass. I don’t know about you, but while watching this, I had a moment where I thought to myself “this going to be the most awesome first family in the history of the USA.”

Apparently, this is not what runs through the minds of many Americans. News organizations across the country practically peed themselves rushing to explain this “crazy Negro fist bump,” this “pound,” this “terrorist fist jab.”

The Sadly, No! blog has done the job of rounding up the idiots for me. I chat almost every night with my co-bloggers at boobtube, Jess and Salome and we went through all the comments, dying with laughter.

If Obama is elected president he will:

- force everyone to eat black eyed peas and grits, fried chicken, corn bread and watermelon as a daily meal.

I don’t know about you, but I’m hungry now. That sounds delicious.

- throw hip hop concerts on the White house lawn, thus signifying a “third world catastrophe.”

Yes. Those black folk. With their crazy hippity hoppity music. It would be catastrophic if Kanye were dropping phat beats at the White House.

- drive a pimped out Escalade with spinning rims.

Bitch, please! It would be a pimped out Prius with spinning rims.

- lessen the formal class of the White House, thus forcing real proud ‘mericans to move to the Bahamas.

Yes. Please. Move to the Bahamas. Where there are no black people. Also, White House and class? I don’t know that those two things have had more than a passing acquaintance since George W. Bush classily choked on a pretzel while watching  some formal football and drinking classy AND formal O’Doul’s.

- make and release a video of Michelle Obama “telling ‘whitey to die.’ Meaning white people!”

Thanks for the clarification, cracker.

- wear “a backward baseball hat with USA facing to the rear. Will the star spangled banner soon be a rap song?”

Only if destiny truly has a heart.

Look, the dap is not a gang sign. It’s not a forboding portent of Obama decorating the Lincoln bedroom with spears and masks and it’s not going to do anything except let us know that the Obamas are about as hip and with it as you could hope a future president and first lady would be.

With that in mind, and for those of you not in the know, I present one of my favourite songs from the first lady of Dap and her royal court. The Dap Dip is from the album Dap-Dippin’ with the Dap Kings, which you can buy from Daptone Records. If Sharon Jones and Binky Griptite are dappin’, you know it can’t be bad!

 

 Sharon Jones and the Dap Kings - The Dap Dip.: Play Now | Play in Popup | Download

I hate watching light filter through my curtains in the morning. Because that’s when I’m trying to sleep. I looked at blackout curtains, but they were kind of expensive. So I made my own. I bought a fabric shower curtain from Ikea and used a stapler to attach a big piece of black fabric I bought at Wal-Martingtons, then hung it in my bedroom window. Now, when I go to sleep at 5 a.m. and wake up at 12 noon, the sunshine don’t bother me. If only I could fashion tiny muzzles for the birds.

For the most part, the night shift agrees with me. I like staying up late. There’s mystery and a cool, quiet dignity in the night. Sure, it’s punctuated by drunken frat boys trying to hail cabs by throwing themselves on the hood, but for the most part, it’s a calm oasis compared to the opressively muggy heat of the southern Ontario day. And it gives me an opportunity to get a lot of running around done in the late afternoon. Were I so inclined. I am usually so far inclined in the other direction that I’m bent.

But one thing the night shift doesn’t agree with is my social life. For the last 5+ years, I have missed more concerts and shows than I can count. I can’t take part in any groups that meet at night, playing recreational sports like baseball or soccer or ultimate frisbee or roller derby (I have such an awesome name planned that I need to join a league like, right now) is unheard of, and I never get to sit on a patio at 5 p.m. drinking cold ones. Mourn my loss, for as Strong Bad says, a one that is not cold is scarcely a one at all.

I know I should not sleep all day and let the afternoon pass me by. And yet, I do. And the Rural Alberta Advantage understands this. I know they do, because on their incredible indie CD Hometowns, they have a song called Sleep All Day that I find absolutely charming. It’s dreamy and easy, exactly like waking up at noon and watching the clouds crawl across a palate of blue sky that instantly lets you know you’ve wasted what many people think is the best part of the day. It’s a decadent slice of music that recalls mornings and afternoons spent lounging in bed with the crossword or a novel and black, black coffee.

My office is so close to the Rural Alberta Advantage show at the Albion Tuesday night that if I sat at the intern’s corner desk and opened the window, somebody sitting on the upstairs patio could pass me a beer and I could watch them play from the office. That would be heaven. Or hell, considering the Merc’s sweetest sin of a cranked AC unit.

The dreamy, ethereal aspect of their music continues in my other favourite song from Hometowns, Frank, AB. When I was a kid, my family would take epic road trips from my small Saskatchewan hometown to the west coast. I clearly remember two rural Alberta cities we’d pass through: Medicine Hat (where I’d later live and work) because they had a huge waterslide park we got to stop at, and Frank. When we’d pass through there, my dad would tell us the story of the Frank slide.

Frank is a mining town in the Crowsnest Pass. In April of 1903, 74 million tonnes of limestone crashed from the tippy top of Turtle Mountain, covering about three square kilometres of the valley and killing about 70 people who lived on the south side of the town. They only ever recovered a few of the bodies and after my dad told me about this tragedy, I would lay in the dark of our huge canvas tent when we pulled over to camp for the night, huddling in my sleeping bag and dreaming of what it would be like to be smothered by rock and rubble and be a ghost haunting a one-horse mining town. Sometimes, I dream about it still. It’s heartening then, that this band dreams of it, too, and in fact, wrote a love song about it. Yes, it’s a love song about a rock slide. Deal with it.

All props due to Emmet at A Bulldozer With a Wrecking Ball Attached, who recently mentioned Rural Alberta Advantage. I knew they had a show coming up at the Albion (because I’m there every weekend), but a reminder is a reminder and he’s a far better rock writer than I. Even if he does go on about the Batman a lot.

Speaking of bands Emmet has written about…

I was first introduced to The Summerlad while living in Regina and working on a video project for school with a local concert promoter I knew from my student newspaper days. Said promoter was from Flin Flon and my job was to follow him around for a day or two to capture his “invisible challenge” on tape. Why, yes, I DID think it was a stupid assignment. But hey, I thought, I can at least hang out with somebody cool while I do this. So I followed him around downtown Regina on a crisp fall day while he put up posters for an upcoming Summerlad show. Little did I know that years later, I would be living in Calgary and my best friend would be dating a fellow Flin Flonian. Said fellow was great friends with Dean Martin (Hey pally!), the drummer for the Summerlad. And the Ex-Boyfriends. And The Martin-Fulton Overkill. Dean and his beloved were also from Flin Flon and they all knew the same music promoter. Cue It’s a Small World.

The Lads have been churning out quality music for about as long as I have been of a mind to seek it out. They are easily one of Calgary’s best acts and I salute their stamina and drive. Once, on Dean’s birthday, I saw him drum with every one of his bands at Calgary’s Broken City. It was an evening of great, loud, loud, loud music. Did I mention it was loud? It was quite the feat and I haven’t seen so much unabashed love of music from anyone since. The group recently won a spot at Calgary’s Virgin Music Festival, and besides The Flaming Lips, their Sunday slot is one of the only things I wouldn’t miss from that fest. You heard it here first. You would be a fool to miss either of those sets. A fool.

I’m heartily endorsing their single, City of Noise as one of the best songs of the year. It’s different than what I’m used to hearing from them at shows in Cow Town (epic, sprawling, mystical adventures of songs almost too big for the venues they were playing) but it’s really driving and the chorus so shout-worthy (Hey! You Rockers! Hey! You Shockers!) that there is absolutely no reason for this song not to become THE summertime jam of ‘O8.

The Summerlad plays the Casbah in Hamilton, tomorrow, and if you’re up for a crushing blow of diehard music fans, head to Toronto’s NXNE and visit the Boat Thursday, June 12 where you can and should see BOTH The Summerlad AND the Rural Alberta Advantage rock the, um, boat.

NXNE is a huge juggernaut you can barely hope to contain. But there’s a shit-ton of good music to be had there if you can juggle your schedule appropriately to see everything you want to see. I’d probably go nuts doing that, so I’d settle for picking one or two of my faves. Like Toronto’s the Action Makes, a hot mess of rock n’ rollers who will storm the barn, burn it down and raise a few spirits for a ghoulish hoedown. They remind strongly of the Black Lips and the Deadly Snakes. Check out their song Charley and the CFF for good, rollickin’ times. It makes me want to throw down shots and drink beer and dance in a sweaty tangle of bodies. Soooo. . . maybe I’ll see you at the Silver Dollar Friday, June 13.

 

 The RAA - Sleep All Day: Play Now | Play in Popup | Download

 

 The RAA - Frank, AB: Play Now | Play in Popup | Download

 

 The Summerlad - City of Noise: Play Now | Play in Popup | Download

Seriously. Here’s yesterday’s radio show line-up.

Hour One
1. Old Man Leudecke - Proof of Love
2. Death Cab For Cutie - Long Division
3. No Age - Things I Did When I Was Dead
4. Creature - Bridgette Bardot
5. the Pack A.D. - Gold Rush
6. Run Chico Run - the Boy Who Drank The President’s Blood
7. Lesbo Vrouven - Encore la mort
8. Teenage Head - Disgusteen
9. the Wet Secrets - Easy Prey vs. Sex Maniac
10. Woodhands - I Wasn’t Made for Fighting
11. Boris - BUZZ-IN
12. Tapes ‘N Tapes - Blunt
13. Frightened Rabbit - I Feel Better
14. Ladytron - Predict The Day

Hour Two
1. Islands - In the Rushes
2. the Black Keys - Things Ain’t Like They Used To Be
3. Flight of the Conchords - Inner City Pressure
4. Tokyo Police Club - Nursery Academy
5. M83 - Up!
6. Hawaiian Babies - Experiments With Oxygen
7. Jim Noir - All Right
8. Fuad & the Feztones - the Boogaloser
9. Friendly Rich - the Gentlemen’s Club
10. Andy Dixon - the Men Of The Mill
11. Dubmatix - Easy Down
12. LAL - Wide Open

As usual, the show can be heard from 8:00-10:00pm Saskatchewan time every Thursday night, streaming audio from CJTR’s website or 91.3fm if you find yourself in our area.

 

 Old Man Luedecke - Proof Of Love [2:33m]: Play Now | Play in Popup | Download

Today’s featured track is by a banjo pickin’ fool named Old Man Luedecke. I’m not sure if it’s pronounced LOO-deck-ee or LOO-deck or loo-DECKEE or loo-DECK…but I like his style. He’s on the bill for the Regina Folk Festival, which will surely rock balls. Check him out here.

Every once in a while a city or town gets spoiled by one of it’s own: a local act that strikes a unique chord and really shows you something, shows you that they might have what it takes to make it to the big time.

But how easily can our judgement be clouded? Every town has bands, and one band in every town has to be the best band in that town. Maybe you’ve got two or three bands that show real promise, get signed to medium- to larger-sized labels, do some touring and start to make a dent in the collective unconscious…does that make you think they’re better than they are? Is that possible?

The first quarter of 2008 there’s been one band playing a majority of local shows here, higher-profile ones at least, opening for touring acts. Geronimo probably still gets tagged with the “ex-Despistado” label (we really haven’t had that many bands make a big national or international splash before), but they’ve also achieved a fuller, more-complex and more-realized sound that relies on the intricacies and interplay between its members rather than pinning it’s hopes on a cleverly-structured song or a well-turned hook.

I really like seeing them play, and I especially love the long-form instrumental they frequently open their headlining sets with. It just goes and goes and is lovely in so many ways. But is it all enough to play on a world stage? I can’t say.

I guess when it comes to local acts you just have to either love them or tolerate them and let the rest of the world decide.

 

 Geronimo - Hope & Fear [3:05m]: Play Now | Play in Popup | Download

 

 Geronimo - Interlude [3:40m]: Play Now | Play in Popup | Download

CDBaby: Seems like if you aren’t in Regina you’d best hit up CD Baby, baby.
Web site: Geronimo’s official web presence, I suppose; NOT frequently updated.

A well-chosen cover song is a lovely thing when performed live. If it’s familiar to the audience it can provide a shot of energy, camaraderie, or pathos. Or it can be laughable and destroy any goodwill the originals may have garnered.

Recorded covers are dangerous territory, moreso than live. Live covers are there and then gone; recorded covers exist forever and sometimes embarrassingly provide a group’s only mainstream exposure (Alien Ant Farm much?).

This past week I received a very nice surprise in the mail: along with my LP copy of Heresy & the Hotel Choir by Milwaukee’s Maritime, the band included a free 7″ with a couple of cover song. In particular, one especially exquisite cover song. One of the finest cover songs I own.

“Boy From School” was originally written and recorded by the English group Hot Chip for 2006’s the Warning. The magic of Maritime’s version is that there’s really nothing different from the original version aside from the instruments it’s played on. Vibrant guitars replace buzzing keyboards and female vocals turn the vocal melody into a pristine duet.

But more importantly than that, the cover helped me realize how good the band’s original works are. Prior to the vinyl release showing up at my door, I had a digital copy that provided me little joy. Aside from lead track and first single, “the Guns of Navarone,” I really couldn’t get into any of it. “Boy From School” opened it up, and there are several pristine pop jems on the album that really beg hearing.

So here’s to you, cover song, for all the good and evil that you do. I thank you for this one.

 

 Maritime - Boy From School [5:31m]: Play Now | Play in Popup | Download

 

 Maritime - Be Unhappy [3:59m]: Play Now | Play in Popup | Download

 

 Maritime - Guns of Navarone [3:00m]: Play Now | Play in Popup | Download

Maritime’s website says to go to Foreign Leisure to buy vinyl, but it’s all sold out on there from the looks of things. So try:
InSound: Might be your last shot. Oh, and they have some CDs.
iTunes: three full lengths here, buddy

Why? is a band that exists in the murky world somewhere in between rap, indie rock, and electronic music.

The atmospherics and textures painted within the songs on their latest album, Alopecia, are a rare and bizarre feat: oddly melodic yet equally dissonant, lovely piano refrains one moment, electric guitar and thick, syrupy beats the next. It’s a bit of a head-trip to listen to.

Lyrically and musically, the album culminates with the triumverance (yes, I know that’s not a real word) of songs you see here. The apex is “the Hollows,” a dark tale of paranoia and uncomfortable experiences in various locales, including the seedier areas of Berlin. The track pulses and throbs (not unlike some of the reference points in the song itself), as frontman Yoni Wolf’s backing band takes centre stage with probably the rockingest song on here. Electric guitar bursting forth, chiming through the clatter of drum rolls, female backing vocals, tambourine, and subtle bass.“These Few Presidents” and “Song of the Sad Assassin” serve as lighter counterpoints to it’s gravity, two of the most beautiful cuts. The former offers a twist on a typical indie-rock tune, making it unmistakably Why? — though that really has more to do with Wolf’s vocals than anything. Moreover, it offers what is unequivocally the record’s most beautiful moment, the lamentageous refrain of, “Even though I haven’t seen you in years/Yours is a funeral I’d fly to from anywhere.” “Song of the Sad Assassin” is one of the more piano-heavy offerings from this album as well as one that sees Wolf singing a bit more. It’s a nice refresher on the sound of previous LP Elephant Eyelash.

Sometimes it’s nice to try out new music that’s more than a sugary confection, something that buries it’s not immediately accessible rewards beneath an avalanche of multiple listens. Alopecia is a left-field treat that offers plenty to someone who doesn’t break out in hives at the simple thought of non-traditional instrumentation and performance

Why? is out on Anticon, and will be for all time.
iTunes: EP’s and albums freely available in a restrictive digital medium!
anticon.: This links to Alopecia but previous releases are linked on the side as well. 

 

 Why? - These Few Presidents [3:04m]: Play Now | Play in Popup | Download

 

 Why? - The Hollows [3:55m]: Play Now | Play in Popup | Download

 

 Why? - Song Of The Sad Assassin [4:13m]: Play Now | Play in Popup | Download