Friday, July 20, 2018

Record Review //
"funeral pyre"

$35 //
Edition of 200 // //

First off, you need to respect the fact that this album is called "Funeral Pyre" and as the different sections are broken down on the back of it into three, it goes from five to four to three songs.    Imagine a body being burned on a pile of wood, slowly losing bit by bit and so the subtraction of each song as it is planned out on the back of the record just seems to fit with that line of thinking.   But I must also warn you: this album is not for the faint of heart.  This album is not something you will put on and listen to while you are also doing something else. 

"Funeral Pyre" is a double record and if you don't know what that means it implies that it's long, yes, but it's also just... It's like the difference between going into a nice 90 minute comedy as a movie and then watching something that's maybe 150 or 180 minutes and goes by much quicker somehow.    It's something you really need to invest your time in, sure, but it's also something that you need to invest a piece of yourself in because as a band, Ourfathers, has obviously invested a lot of themselves into this.   It's definitely not an album to be taken lightly.    You need to either be completely serious about this album and the devotion that goes into simply listening to it or you need to not even bother pressing play.

And I get it, believe me I do.   Time is precious.   There is more music out there for you to listen to now than ever before.   Maybe you'd rather listen to the same set of songs you have been for the past few months over and over until you get bored and make a new sort of playlist.  That's fine.  I understand why people listen to disposable music and I don't fault them for it, but this album is in no way disposable and when you press play you're entering into a lifelong contract with Ourfathers that says you'll be listening to this one, you'll be affected by the one, forever.

Side A opens with this sort of chanting and then there is screaming in the background.   The music likes to do that, as I think it has elements of post rock but also of screamo.   There are these really quiet parts, just pure melody and singing to the point where it reminds me of Kings of Leon to some extent, and then it will just kick in heavier than heavy with screams and breakdowns that you just feel.  It's like being stabbed in the heart, I would imagine.   At one point there are bongos and by the end of Side A you'll hear strings but it just maintains this sense of being somewhere between melodic rock and hardcore.

Some of the obvious comparisons which come to mind right away are The Receiving End of Sirens.    I can't tell you how much I love TREOS and I wish more bands reminded me of them.   Then there are other classics like Thursday, Hot Water Music, Thrice, As Cities Burn and even Eleventeen.   But what you have to understand and what I feel right away from just listening to the first side of this is that both musically and lyrically this is the type of album that I'm going to always keep with me, which is not something that happens with every album but it has that "classic" (in my mind) feel like "Illusion of Safety" (Thrice), "Son, I Loved You At Your Darkest" (As Cities Burn) and "Full Collapse" (Thursday)

"Martyred" opens up the second side with the force of Thursday.   It breaks down into these words like "When we die, we die alone". which reminds me a lot of Park musically.   There is also this theme on the previous side, between the third and fourth song, where the lyrics both state "We are all alone"and "I will die -- I will die alone"    Of course with the album title "Funeral Pyre", you can only expect some talk of death, but I'd say "Martyred" is really one of the first songs that I strongly related to and wanted to sing along with after listening to it a few times.   Yes, you will be able to sing along to this eventually, perhaps even during long drives, but at first, you must show this music the same respect it shows you.

It feels like all of the bands I loved in the early 2000's teamed up to form one superband full of screaming, singing, hate, anger, revenge, punk, hardcore, melody, beauty and just purity.    If you are like me, you will appreciate how great this is simply because I haven't heard something quite like this in a long time.   But even if you don't have that same musical path that I do, you can still appreciate how there are different elements in this one and just the energy of it, both in the way that it rocks and in the way that the overall vibes it gives off, should draw you in and never let you go. 

"The Writhing Heart" opens with singing and it seems like it's a ballad but then when the next part comes through it's pianos and screaming: "Talk sweetly, love / Cause it's the last chance we'll get / Fall asleep, my love / I won't be here when you wake".    This reminds me of On The Might Of Princes and Allison Ranger, though it gets into these huge builds as well and I just don't know if there is any band to compare this with exactly because I just feel like it's taking bits and pieces of all of my favorite bands and putting them together.    Also, interestingly enough, as much as I think "Yeah, 'Martyred' should be the single here", I also feel like "The Writhing Heart" is just as important because of the end lines: "I found my life again / Realized the worth you thought you stole / Finding hope beyond your grasp / I'm chasing lights into the dark"

Side C kicks off as heavy as it should and in some ways I want to say that each of these two records could be their own albums, but I even really feel like each side is an album within itself.  "Cronus" opens with the line "There's a beast inside of me clawing at my ribs" and has as much violence in it as you would expect based upon that idea.   "I'm the only one to blame for the hell I bring" is the type of lyric I'd get tattooed on me and I don't even have any tattoos.     What I like about this side as well is that "An Introspect Divide" also states that "You are not alone", which goes back to the whole feeling of how we all die alone from the previous two sides.

The last two songs are the end of this record and compared with the rest they are a bit slower, more powerful because of the lyrics but there is only really one point where they break down heavy and otherwise have this melody about them.   I'm hesitant to say that "Funeral Pyre" should be in Album Of The Year type lists (though I will add it to the short list I have so far) because that makes it seem so final.   It makes it feel like "Yeah, that record was good for 2018 but it's 2019 now!"   This is something that I'll still be singing along with, annoying my neighbors with and just creating a deeper understanding and love for not just ten years from now but as I said earlier, forever. 

Cassette Review //
"Corners EP"

$5 // //

When it comes to a band like Although, I have trouble explaining their "Corners EP" because there aren't really a lot of bands who sound like this and those that do are not really the types of bands that everyone has heard of before.    On the surface there exists that idea of a band such as Nirvana, Campground Effect or even to some extent Cloud Nothings, but that's mainly because I also think of those bands are all sharing a common bond as well.

Where it gets different is that through these heavily distorted songs which can channel punk on some level, I hear bits of Prevents Falls (who I've always wanted more music from) and a band from the 1990's like 1000 Mona Lisas, who I always seem to reference but never know if anyone ever gets it or not.   It's just that you don't hear music this heavily distorted these days and if you do it tends to be slowed down in comparison with Although.

Another comparison I really like though is that these songs remind me of the first Bayside album.   They have those banging drums that just resonate and make you think it has this studio presence but at the same time just seems so raw, unfiltered.   It is not easy to capture what would be that sound between studio and live but I feel Although has done a good job of it.

Perhaps the most challenging part of this music is that it doesn't sound like what you might like, but it sounds like something you would like based upon if you like similar things.   Does that even make sense?  Ok, so, once upon a time I saw Prevent Falls play with Bigwig and I don't know why but I always remember that show (But I saw Prevent Falls like twenty times)  So it's kind of like, if you don't know or like Prevent Falls, but do happen to know who Bigwig is and you like them, then you'll like this, even though it doesn't really sound like Bigwig.

The same can be said for Bayside.   I haven't really been into as much of their newer albums as I should be- somewhere along "The Walking Wounded" I fell off- but it does dawn on me that people who are fans of Bayside might not know their first album all that well.   But even if you only know Bayside for their newest album or one song, you should still be into this grunge/punk/thrash rock that would've fit in so well in 1993 but somehow seems so much more needed in 2018.

Record Review //
"Soul To Skin EP"
(Dream Diary)

The minimal electronic sound of VTR is one which is not easy for me to place.   It's not quite Garbage and it's not quite PJ Harvey, but it's along similar lines to where if you enjoy those artists you will enjoy VTR.    Dark electronics make the songs feel like a cross between Kimbra and Fleetwood Mac.     The first song, which is the titular track, describes being soul to soul and skin to skin and that seems to set the pace for the entire record.    It's quieter in the way that it can be described as chillwave so it never really opens up like you might expect electronic music to do with big beats.

On the second track, "Dreams", there is a sense of jungle electronic percussion which I can only describe as pleasantcore and can compare with "Everything But The Girl".   One of my favorite lines says that "Players only love you when they're playing".    Yet somehow "Whisper", the third and final track on Side A, opens with a bit more of a vocal manipulation which reminds me of how you can fast forward or rewind a CD while it's playing and there is a bit more soul/R&B in this with claps.     Though it maintains that steady pace of chill and overall when you're listening to the song you will hear the vocals above all else.  

The flip side opens with the song "Find A Way" which has this sound more like soul to it in a way which reminds me of Janelle Monae or someone along those lines.   It's just odd to me that this has all the makings of a soul/R&B singer and with how many there have been over the years it should be enough to say "This sounds a little bit like Fiona Apple" but it's not nearly as simple as that.    The electronics add a bit of darkness to it as well.  "It was easy to love when you put that vision in my head" is an example of the theme of this record as well, as it isn't sad in the sense that you'd put it on and cry but it certainly isn't upbeat either.

INXEC remixes the titular song to end out this album.    Drops of electronic water, claps and drums give this a much more electronic feel than the original.   There are organs as well, and yet, it still feels somewhat minimal and there is still a strong focus on the vocals overall, but it's a nice remix where it doesn't stray too far from the original source but is also not just the feeling of listening to the original and wondering what exactly was done to it.   You can see what was added and that makes it a reminder that though there are four VTR songs on this record they are more powerful than what other artists have as ten or twelve songs.  

Record Review //
Bloodcocks UK
"Hot Sushi"
(SquidHat Records)

$10 // //

Only recently did I rewatch the remake of "Bad News Bears", you know, the Richard Linklater one with Billy Bob Thornton, and it's one of the few movies that I love the original but I enjoy the remake as well (I tend to despise remakes when it comes to movies)   When I was watching it in the last few weeks, I was looking up the characters and realized that the main girl who starred in it died a short time after at the age of 20.   That kind of caught me off guard because I didn't know about it until then.   Anyway, this all makes sense with this review because in that movie the main girl and this boy go on a date to see a skate punk band called Blood Farts (portrayed in the movie by Phantom Planet) and the names just kind of reminded me of each other here, with Bloodcocks UK and all.

As someone who is a huge fan of Godzilla (and Japan in general) "Godzilla Go Go" is a great way to start this album.   "Backdoor Frankie" is kind of what you would expect it to be about if you put it in the context of being the title of a porno.    Somewhere between Guttermouth and Electric Eel Shock, Bloodcocks UK create their own kaiji named "Ratzilla" on the third song and it's a movie I want to see made now.   There is also this sense of the Ramones in these songs, though of course since they sing about Tokyo a lot it also has that album sense of Guttermouth's "Teri Yakimoto".    As much as this is about Japan though (And it is *a lot* about Japan) it is also about rock n roll, which is cool, because it's not just that punk sound but it's punk mixed with rock n roll.

"Girls" does not seem to be a cover of the Beastie Boys song, but luckily it is not about that terrible HBO show either.    We get it, HBO.   You can show full nudity.   Now how about try showing some full comedy? (Nothing but love for Larry David though)  On the flip side we start off with a song called "Zombie Porn" and it's kind of funny because that ties in with the last sentences I typed, if you think about it.   I understand the idea of "Zombie Porn" and I'm sure there's some movie out there called "Zombies vs. Porn Stars" since Zombies seemed to have versused everything (Doesn't it have Jenna Jameson *and* Tito Ortiz in it? I'm afraid to look it up) but I do know that when I go visit porn tubes the closest I get to "Zombie Porn" as a category is "Goth" but perhaps they're onto something here.   Is putting on full body zombie makeup and fucking what we have to watch to get off now?  Probably.

Going back into my Guttermouth idea, they do have a song after "Zombie Porn" which is filled with more words which would be edited on the radio than not.   It also has this deeper, grinding sense about it and I do enjoy how the songs have their own identity based upon the subject matter and it's not just "And here is a song about this" and then they all sound the same.   "Mothra vs. Frankensein" is a concept I would entertain but at the same time I feel like Mothra would win easily.  Still, I've seen worse movies so why not, let's do it.  I have this Mothra toy so I'll get some fishing wire and a Frankenstein toy of some kind to go with him.  Let's do it.  (Though, on a side note, my Mothra toy lives on shelf with books right above a shelf which has more books and a Bela Lugosi as Dracula toy on it, so there's also that)

I'm not sure why, but the idea of "Hot Sushi" sounds gross to me.  Granted, the first time I had sushi was at a Chinese buffet and I thought it was gross- because it was- but since then I've had a lot of proper sushi and I am a huge fan of it... just... not... hot.    "Sex & Drugs & Rock & Roll" closes out this album, which if I post these in the order which I am listening to and writing about them you'll already have read about the song being on the 1977 compilation as well.

I feel like there is a lot to process on this record.   It's a 10" record and only recently did I see this photo on Twitter showing all of the various sizes of records (I only knew about 12" and 7", to be fair, but yet now this is my second 10" record.  Wild)   This album also makes me want sushi, but not hot sushi.   I want to see a movie or comic book about "Ratzilla" now.   I want "Zombie Porn" as an option on my tubes (I won't link names cause I don't need that spam in my life)  And perhaps most importantly I want to find the right Frankenstein toy and make a video for "Mothra vs. Frankenstein", which I will totally do.   When was the last time a record made *you* want to do so many things??

Wednesday, July 18, 2018

Record Review //
Jealous Of The Birds
"The Moths Of What I Want Will Eat Me In My Sleep"
(Warner Music)

$14.99 // //

Jealous Of The Birds is hands down one of my new favorite artists just based upon the name.   I mean, I want to wear a t-shirt that says this on it simply because I feel it is true for most people, right?   Birds are the epitome of not giving a fuck.   They do whatever they want for the most part.   They shit on people.   They migrate, so instead of toughing it out through the harsh winters (like I do) they just go to warmer climates, which makes so much sense when you think about it.   Oh yeah, and perhaps the most important part: Birds can fly.  Imagine being able to just pick up and fly away from wherever you are?  It'd be so rad.

The first song on here is called "Plastic Skeletons" and it has this noisy rock n roll sound to it.   There is a lot going on complete with break downs.   There are some distorted beats and it's just not something I've quite heard before so I can't say "Oh yeah, it sounds like this" unless maybe you could consider Beck.    The lyrics are catchy, you'll be singing along rather quickly, but they are also somewhat specific.   As you'll find with the next song, "Miss Misanthrope", there is this sense of things being very detailed.   Perhaps one of my favorite paragraphs through the whole album is:

She said, "I care too much these days
About my place in this ball of yarn
There is not a lot that I can boast
I water plants and make French toast
And music like some old misanthrope
Afraid to sow all my wild oats
Read Walt Whitman poems, drink a bottle
Of champagne and sing some Lenoard Cohen
I love it when he speaks so plain"

I'd really quote all of the songs if I could, but you need to hear all of the lyrics for yourself.   It's just something as simple as French toast, in theory, coming into song and then you even think maybe it's just there for the rhyme, but it makes sense as French toast goes with the theme of not having a lot to boast because French toast isn't as easy to make as, say, regular toast or pasta, for example, but it does take some skill and yet is somewhat simple at the same time because it's not this sort of master chef meal that seems overly complex and difficult to make.    So it just works in ways and on levels that I don't think anyone will fully dissect and realize for maybe centuries to come.

"Trouble in Bohemia" is the last song on Side One and I've always looked into various lifestyles in terms of clothing and decorations for your apartment and such and Bohemian is something that always seems to be a way to describe me.    This song is not as slow and delicate as the one before it (Which also reminded me a bit of Pearl Jam before the vocals began to echo each other) but it isn't as fast and doesn't have as much going on as the first song either.   It's a nice middle ground of the first three songs here and it's just such a diverse style from song to song so far.

On the flip side we begin with a song called "Tonight I Feel Like Kafka", another shout out to an artist I love.   This has this folk/acoustic sound with these tones behind it and as the verses bleed into the chorus I can really hear Elliott Smith come through with the line "And it scares me to think that nobody looks at me that way".   The tones turn into this solo and it takes us to the end.    "Russian Doll" is the final song and it comes out with a much more upbeat drum machine type of sound with this certain guitar riff that adds to that.    It just feels more like pop than most of the other songs, though it still opens with the line "I wish I was bolder". 

As far as "Russian Doll" goes, I think it has a theme which we can all appreciate, which can also be summed up best with the lines: "I took your compliments I just struggled to believe / That I was worth loving and you weren't lying through your teeth".    I think we all feel this insecure, don't we?  I know I sure as hell do.   Guitar solos and clapping seems to pick this one up, so we kind of end on a more positive note, but that's not how I want this review to end.    No, I need to go back to the song about Kafka to end this review.

You see, the opening of the song "Tonight I Feel Like Kafka" says:
It is two in the morning and I wannna drink wine
Listen to Kurt singing in The Pines
Couldn't be any more hipster if I tried

This then goes, ultimately, into the lines about "And it scares me to think that nobody looks at me that way".    Isn't it odd how we sometimes set ourselves up for these expectations which we cannot reach?   I want to say this and not just to the artist behind Jealous Of The Birds who wrote these words, but to all artists, really, who are trying to be something they can never be.   The thing is, to reach that level like Kurt Cobain you would have to do something you're better off *not* doing.   And, so, in that sense- and I'm not badmouthing Kurt Cobain in any way- you have the chance to be something more than Kurt Cobain.   You have the chance to tour in your 40's and 50's.   You have the chance to leave a much larger legacy.   So just stop comparing yourself to other people.   And for Jealous Of The Birds specifically, keep making music like this, keep being you and history will write itself.

Cassette Review //
"Under the Starry Ether"

€5  //
Edition of 20 // //

When I first saw this name I knew it as "Wound", that is to say, if you were to injure someone by stabbing them with a knife.   Along with the verb it could also be a noun, such as a scab or cut on your body somewhere, which is weird because when you wound someone you create a wound on them.   If you punch someone in the face they don't get a punch as the mark left behind but rather a bruise or black eye.   Still, I searched on Bandcamp for this and found artists and titles related to "Wound" in the way that they were "Wound Up", the past tense of "wind".   Funny how words can mean so many different and similar things.

Haunted tones start things off.   There is an air of suspense about it all.     It begins to slightly change now, some static coming through in the background and this just has a feeling of terror to it overall, as if something will come out from the woods at any moment and attack.   This continues with these tones coming through but still it feels like that fog that settles on the ground, a branch snapped in the woods and you know something is out there but you just can't see it.     There are even some echoes in here which make me feel like we're in that "Friday the 13th" type of setting.

The fog sinks deeper in, it feels as if organs are playing as well and it just takes us into an overall place of darkness.   Perhaps this could be the soundtrack to that graveyard we were told to stay out of as children.   Perhaps this could be what goes bump in the night.    As it dives further and further into it you can almost begin to hear the demons sing along with what sounds like it must be eternal damnation.    As the darkness fades there are only smaller sounds now, like footsteps down an empty hall, and if you hear those coming my best advice would be to run. 

On the flip side we start with a quieter whooshing static.    This screeching with it almost sounds like a modem.    A darkness comes through like a hissing and those same sort of tones are in the background as Side A but this time they have other kind of industrial sounds paired with them which make them feel even darker somehow, like Nine Inch Nails going into that "Great Below".   (One of these days, I need to see if "The Fragile" was released on vinyl, which I bet it was, and see if I could get it for a decent price)

Some much more distinct tones come through now and while at first they sounded like a guitar and then I thought they could be a piano they have that keytar type of feel to them, such as some of electronic keyboard setting that I'm not quite familiar with.     Somehow this makes it feel lighter, like we're floating in the clouds as the static still sneaks in but there is an overall sense of angelic tones.    It's funny how before I thought this was dragging us down to Hell and now it feels more like we're ascending up to Heaven.    It feels a little bit wavy now.   This builds until it feels as if we are falling.   Perhaps our promises of Heaven have been dashed. 

Another distinct set of tones create a pattern.    It feels borderline alien, but I think it is best for it to simply stay within this horror movie type of genre because if you tend to overthink these things you might struggle to find the images to accompany the sounds.    As it screeches to an end it reminds you that Wound is not just capable of crafting these sounds which will leave you wondering how they are made but they are also the ideal sounds for those who enjoy listening to music and having images race through their mind while they are fully experiencing it.

Cassette Review //
v​/​a - an invitation… extended… interpret as you wish… thank you. (1​.​8​)​sec​.​compilation #2
((1.8)sec.records / one point, eat records)

$6 // //
🎧 //

This compilation features seven different artists doing their own thing.  Though there is a description on the Bandcamp page for each song, I tend not to read those because of one of those not wanting to know how a magician does their tricks type of ideas.   I suppose you could listen to these songs, ready my thoughts about them and then read what is actually happening (and how wrong I probably am) but I don't really want to read the specifics of what any artist on here actually used because I like to keep that illusion alive in my mind.   Rather than a traditional review as well, this will be more like a song-by-song review for what I feel are obvious reasons. 

Nate Wooley - Rubin -- This song starts off rather quietly, some beats come in and steps echo through like "Law & Order".   There is a sharp pitched drone that blares through and it is best to listen to the somewhat hidden aspects of this track via headphones.   Minimal video game, perhaps as well.

Hervé Boghossian - Jitaku (Un-Trad series) -- Louder in contrast to the song before it, there is a sense of a saw or perhaps something rolling around inside of a metal wagon while being pulled.   It also sounds as if it could be the chaos of percussion, a frantic banging on some sort of drum with an object which may or may not be a drum stick in the traditional sense.   Space whirrs loom in the background.    The percussion shifts over into an almost scraping sound.   It comes back to that banging sound though that makes me feel like it really is drumming.    This steady banging with the space whirrs behind it continues now.    At some point, it seems to change octaves, as if the drumming takes on a higher pitch, the way you would go up the scale with any other instrument but I'm not sure how that works with a drum exactly.  It begins to really take on the appearance of a broken wind up toy by the end.    And then it ends on what could be simply the ticking of the clock but is more likely some sort of acoustic instrument being plucked.

Forbes Graham - Right On -- There is this creeking and moaning type of sound which could be a saw but also really sounds like it's being made with someone's mouth so I'm also thinking maybe it's a jawharp as it gets wild and begins to sound like a swarm of bees as well.    Parts of this also give off a sense of an airplane but then it just gets deeper in the bass and really sounds just like someone going "Ummmm....." in that way.    But it is still some buzzing, like a fly stuck in a window trying to figure out why it can't get outside.    It all quiets down to become tiny whimpers.   These are sharp and then something much faster which sounds kind of like spitting comes through and it's almost like beatboxing.    Some clicking and what sounds like Lurch ends the song.

Nat Felicitas - Two (Improvisation)  -- Acoustic guitar notes begin.   This brings on a similar pattern as the notes but in a much darker way as it sounds like a cello now imitating what started with the acoustic guitar.    Some sharper strings come through as well and this just takes on the sound of an orchestra.   It has a rather classical feel to it as it is several strings working together to form a collected sound.    The notes begin to sound as if they are sawing as a bass line beats in the background.   Such delicate notes now.   The way they join together but also work on their own says all you need to know about this piece.

Troy Schafer - At Home -- A series of tapping makes me think this is a drum stick- or something similar- being tapped against a hard surface such as a countertop but perhaps not a drum.   This wind of sound comes through which could be a lot of pots and pans hanging up, the way they do in big kitchens, but then the breeze sort of blows through them to create this sound.   It's not scraping, it's just a series of smaller sounds one right after the other to create the much fuller, larger sound.   There are suspenseful strings behind this all as well, as the tapping from the start continues also.    It quiets and fades out.  

Justin Von Strasburg - September 10th, 197 North -- Quietly, this one starts and is one of the first times on this cassette you *need* headphones before a giant smack comes through.   Then again.   There is this subtle air of static behind it though.   A cracking or popping perhaps comes in next.   It reminds me of an instrument that might have been used during the golden era of radio to make it sound as if a horse was galloping, but the instrument is not being used in that way here.    There is also just this general sound to it though where it might be something hitting something else, something plastic being dropped onto the ground for example.   For some reason it also reminds me of a mousetrap.    It pauses for a moment and then comes back even louder.   Imagine someone in a room walking across mousetrap after mousetrap, though it would likely be a cartoon.    It could also be the popping of popcorn, only not.   Now, this piece does something interesting next.  A siren is heard in the background, quieter at first and then louder, as if a police car is passing by.    Whenever I hear such things I'm never sure if they're part of the cassette or real life.   If I'm sitting inside listening to this or outside walking listening to it, I still have that chance to hear sirens, so, for once I paused the cassette and actually realized that was the source (Usually it's within my own background)  I also then enjoy the fact that I imagine Justin Von Strasburg recording this and that just happened to occur while recording so it was just left in there.   Quieter clacking now.    What's funny is, after the sirens on this track faded, the first time I listened to this there were then sirens outside of my house- which is what I generally tend to think of sirens- and as such I had to pause this again to make sure.   But yes, it is funny how sirens are such an every day sound of life and yet we don't hear them in music itself but often times they are with the music when they are organic.   A quiet patch now, just barely any static back there, which also might just be a result of the cassette itself.   A loud pop now.  It seems as if my earlier assessment was more accurate and it's not that there is someone moving through a room full of mousetraps such as in a cartoon, but rather that there are these traps set up in such a way that they seem to go off by whatever is setting them off, kind of like those old popper toys that you'd flip inside out and put on the ground and then they'd flip right side out and shoot into the air.    The track ends with the title being spoken.  

Asthmatic - Deer Recorder -- Electronics give off a video game vibe.   It feels like an electronic bass coming through in waves such as if you'd use a bendy straw.   This brings out more harsh frequencies now, as if a nob is being turned to hear these various levels of pained sounds which could have some vocal element to them.    It sounds like someone is yelling next, which is either a lot of autotune or an electronic sort of horn with it as well, such as one would make through a keyboard.    Now there is definitely this sound a keyboard/recorder/clarinet.   The way it comes out though is just so fascinating because I can't quite figure out how such a thing can be performed.   It's interesting to hear the sounds, but figuring out how they are made sometimes makes them that much more interesting, building up the different scenarios in your head as to what could make this sound a reality.    It still does sound though as if it's trying to form words as well.    At times, you can really hear the notes though.