The Sleeps in Oysters album is out. Hmmm...I may have to shake the cobwebs off of this Itunes gift card. I feel so 20th century, buying music, bah!

Update: Sleeps in Oysters Lo!. It starts off with a sample of something. Don't know what. I am devoted to research. I don't know anything at all about music and I am allowed to use that as an excuse for laziness. This song starts off similar to the eps that preceded the album. Pops and gurgles of electronics and disassociated voices and a general otherworldiness. It's marvelous. But then about midway through it takes a turn. It is a folk album. Were we expecting this? Have they always been a folk band? There were loads of songs about insects, I remember this, am I misremembering? Asking questions is annoying. Do you really care about insects? I don't. Godzuki's first album has loads of lyrics about insects but I don't notice it all that much while I listen. There are melodicas and guitars strung from broom sticks and wash basins and still the disorienting atmosphere of cacophony and it's brilliant. They are a folk band and I don't mind really. If I listened to music while I rode my bicycle I would listen to this. it is very industrial, it could act as a lubricant for my aching muscles, the singals generated from the auditory nerve coursing through my torso into my quadriceps and being transmitted to the gears of my hybrid bicycle. It would be electric. This is a very english record. Delicate, clever, pastoral, these things are not done well by Americans. They are done well by the French. It could be a general European trait. Perhaps not among the Scandinavians. Second tracks is small twinkles and blurbs and his distorted voice, it sounds a bit emo, he sounds vulnerable and wounded and it's nice. I could be in the right frame of mind for this. I have a reminiscence of Bitmap or the Beta Band. Am I again misremembering? Bitmap were never this gifted. Bitmap were a bit dreadful really. He should never have ventured away from Salako beach. Now there is electronic turbulence and cosmic background radiation and it is lovely and it devolves to his tender naked voice and a guitar. Very Nice. I don't remember his voice at all before this record. Did he sing before? Did they record this in a coffee shop and later take the tapes hope and splay them flat with electronics and end of the world business. Song over in a soft drizzle of twinkles and hummings and gentleness. It is a folk album and I don't mind. Now to a suite. Very pretentious. If I made a record I would include suites. This starts off with rain sounds, birdsong, electronics and keyboards, without voice. Very pretty, very pastoral as in picking daisies in spacesuits. How to program such things? DO you have to hear these sounds in your head and search for them on your sampler? Or is it all happy accidents? Is there a default setting and all electronic music is merely manipulations of these basic sets of defaults? I don't know. Again with the questions, argh. I need to move on to become a man of statements rather than questions. Part II has begun, his distorted voice, joined occasionally by his female partner, twinkles and tubular bells. These are all short parts of a larger whole. Oh, I apologise, this is Part 2 and the preceding was Part 1 and before that was merely the prologue. I would like to have a prologue on my album. Has Thom Yorke had a prologue on any of his albums? He seems as if he'd be a prologue kind of guy. I am now moved outdoors to finish typing this and the weather is beautiful. In Colorado there are years when the 90 degree days can start in May and End in September and then there are years when it doesn't truly warm until July. I prefer those years. I write effusive lamentations over the heat. I don't actually mind the heat because one of the joys of living here is an accompanying heat index that is less than the actual temperature but then the monotony of sunshine and 90 gets a bit wearying actually. You might not think that it would, but it does. Part 2 was a bit dull, sounded like someone dropping nickels into an empty glass vase. Snooze. Now to Part 3, the final part, the part that makes it all seem worthwhile. I have faith. Folk singer troubadour voice exercising his workman's blues, guitar at a pace now, it almost sounds traditional. His own lamentation is concerning winter. I like the winter. I like the mornings where all of the warmth is drawn from your exposed skin, the unique crunch of crystallized snow beneath your boots, the slow cranking over of a car starter and the sound of snow falling from pines. That pure whoosh. Now if an electronic band could recreate that sound we'd be getting somewhere. part 3 wasn't all that impressive but I still enjoyed it. I don't think that was an actual suite that just finished. I will have to do more research. next track, Sunday at the Margin, organs(air organs?) pumped and electronics squiggled and his soft voice. I remember that her voice was actually lovely. Am I remembering incorrectly? This is nice. I like this album. I think it is a summer album, but a summer evening album, it is too busy for the arc of the days heating. The lilacs in my yard are fading, it wasn't as great a year for blooms as it was last year, the rain dampened the enthusiasm of the flowers this year I think. And the continuing colony collapse has caused much distress in the world of lilacs and burning bushes and the rosacea family in general I would presume. Maybe we need to import giant Japanese Hornets to pollinate my lilac trees and to carry off little children dressed in designer clothes. They could carry them to the same place in India where David Cameron offsets his carbon emissions with poor Indian Boys operating a treadle pump. i could claim a carbon offset for each of the trees I have planted in my yard. Could I not? I am sequestering carbon! Also since I have been riding my bicycle I now have much shallower breaths than I once had so my production of CO2 must be reduced as a result. When I go to walk about the botanic gardens I will breathe more heavily and share my lovely sweet CO2 with the trees there. Girl singer alert. She has returned. I guess her voice could not necessarily be characterized as lovely, only in the sense that Rosie from Pram is the loveliest lovely on the planet, it's odd and quirky and as I do find those attribute endearing I suppose she is lovely. Whirrs and stutterings and stammerings, it sounds like me this past Thursday night. It feels more frightening fairy tale-ish when she sings. Is the record broken into two parts? Now a standard drum machine pattern and it sounds a bit like the second Godzuki album but it isn't about insects and of course neither was the second Godzuki record. This is the band's theme song. Better than We are the Pipeetes, the album has turned rather marvelous since she has taken over the microphone. Sit down son, time for me to sonne you. Guitars, electric guitars, silly lyrics. Don't Drum for Other Girls. This is summer. This is music for washing the car to. This is music for Reggie Blaze to call the police for. Reggie Blaze is possibly dead. I wonder how many of the people from the neighborhood are now dead? Claras? Luchinskinis? Prauls? The death of my childhood. A Capella. She is much more playful, I am playful, I have exorcised my melancholic demons while writing about Giorgio Tuma this morning. I like the self-help words, and now a piano, one in each ear, her awkward voice. Her half o the record is much more marvelous than his was. Sorry dude. Now digital strings and ambition and gracefulness and magic. I am being very specific in my praise here, let me choose another amorphous amalgamating adjective that means nothing at all. A digital horn next to the digital strings, a pop cuisinart and it's amazing. Really. It is like Pram if Pram had a happy childhood rather than the one they likely spent locked underneath the sink with only a box of boric acid for sustenance. And an ironing board cover for a pillow. It has fallen into disrepair and parts of the song are bleeding out into the air and it's beautiful. I wish I knew more words for beautiful. Now a sample of a gospel recording, clever. A 2-part epic to end the record, introduced by a sailor's hymn. Hymn over. Silence. Lots of silence. Not a refrigerator hum. Just the refrigerator hum. Hmmm...now maybe a TV test pattern hum has joined the refrigerator hum. It is anticipation that they are building, sometimes building anticipation is no good thing for other people. Now a signal from extra-terrestrial intelligence, a repeating pattern, manmade, the lost tribe of israel. Call Jehu. Three minutes have passed, not so epic then. This is the first time I have listened to this song. The lamentable age of CDs and digital music. I keep typing lamenting or lamentable or lamentation, i apologize. But wen forced always to listen to music from front to back and never from the middle onwards as you would when say listening to a cassette changes the relationship to song position on an album. Is it wise always to include the grand epic as the final track? Are there classes in university to discuss these important questions? I do hope so, for the sake of the safe continuance of human civilization. Now the sailor's voices have returned from the abyss and haunt your dreams. It's all very Poltergeist. Its Jobeth Williams getting baked in her bedroom while the kids are getting it down the hall. It's great. Sorta, I have faith that it fits in to something greater in the overall scheme because the album thus far has been fantastic and this is just the bit where Skunk Baxter would have guested with a wanky guitar solo 30 years ago. Almost silence, the vacuum of space, the sound of the wipers on the port hole window giving you a clear view of Sadal Melik. Now to part 2, it's lovely, her bare voice, something plucked, slowly then more quickly, like a metronome, like a clock, very Pram. Are they Pram lovers? Lovers in love with Pram? Delightful.