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id m theft able Discography Ranking:

(it's important that you read these reviews in chronological order)

Below is a file directory in chronological review order:

Smidge Beats
Which Ponds Y Which Sugars Y Witch Ponds I've Witch
Organ Standards
Slide Over et c.

Head Down Inna Vitamin Blush
1 Baked Hand
Hangin' Flaccid Like A Wet Lilac
Babb's Bridge
Endless Blooper Ending
I'm On Flourescence

Endless Blooper
Star Guts
E Custodial New Star Gaze
errored jellies//jellied errors
Oboe Cold

Things I Might Write on the Egypt Road Rock
n's On Fire

E Custodial New Star Gaze

Total Run Time: 71:23

1. cakes and sweets - 6:11
2. and how do i become a 'sunshine superman'? - 10:46
3. anthology of mispellings of the word "moon" pending - 6:46
4. and polka nonnonchalant, oh aspirant superman! - 6:22
5. it's glowing, it's made for sounds - 10:29
6. this shimmer hymn to add to her collection - 11:43
7. ____________ - 19:06

Wooooh! Doing another listening project finally! Yes, I'm still not done with the Kevin Drumm listening project. To be honest, that one's getting kind of hard to continue. I mean his music's nice, but I don't know if it's interesting enough to carry on continuing going through ALL of it. Might pick it back up eventually though. ANYWAYS, let's get into one of my favorite artists of all times, experimental glitch musician (one of the most experimental and impressive out there) Skot Spear of Portland, Maine, otherwise known as id m theft able. We'll be going in order of upload date to Bandcamp (this one being the first). If you'll notice all the extra images shown here, these are extra images uploaded as specific track arts! So a lot of bonus stuff with all of this. Well, let's jump into it I suppose. Track one starts out with some outside sounds, birds, crickets chirping, you know the like. The type of sounds you hear after it rains. Then it's like this chorus of rubber chickens I think? It's a super weird chaotic sound (get ready to hear me say that line over an over again). Then there's this 8-bit melody with some soft singing on top of it? I've already heard most of this guy's music so I can safely say that this set of sounds is quite strange. The 8-bit isn't even a melody anymore, it's completely stochastic. The door creaking that comes in makes this sound a lot like the opening to Rise of the Common Woodpile. Then it ends with just the outdoor sounds. An alright track, nothing really special in that. Just... very very strange. But nothing that absolutely resonates with me. Next track starts with a different field recording, then proceeds to get quite chaotic again. Instead of rubber chickens though, it's id m theft able's usual style of chaotic glitch noise stuff. Some crazy sounds to begin with, then it revolves around a lot of stochastic bottle sounds. Glass bottles, metal bottles, squeaking. This one's got a lot more of a folk atmosphere to it (whatever that means). You know, the sounds are more of kitsch items than others. This track gets very loud. Some samples of records with wildliny shifting RPMs, some radio samples here and there. Another quite strange one. Around halfway through I start to notice this odd buzzing/humming in the background. Not fully sure what it is. Just a low buzz thing. Near the end, a lot of watery sounds. The bottles start to go away, and while the noises are still just as abrupt and chaotic, they're quieter and more subtle. Then it starts to end with the same sorts of outside sounds that the previous track began and ended with, but with a lot more water sounds and whatnot. Third track gets quite interesting as well. Right now, this one's my favorite. It's this weird broken bass guitar sound with a lot of glitchiness in it, and this broken stuttering singing voice that's super far in the background. Both elements sound like they shouldn't wor together, but they end up working together amazingly. It's a sound I really like sitting with. Subtle and not subte in just the right ways. Amazing atmosphere here. Track 4 is a sound pretty similar to that of track 2. Chaotic and loud and distorted with a lot of bottles sounds. More radio samples though and this time with a melodic arpeggiating thing (I don't know if that's the right word to describe it, but it's nice). Alright track. Track 5 is a lot slower and a bit more subtle. A bunch of vocals at the beginning with some quieter glitches. Some louder sounds here and there. Mostly a lot of those same 8-bit piano noises, but with a more clear pattern. So this is one of those ones with a bunch of patterns that sorta phase in and out with each other (he does a lot of these types of tracks, but they're always pretty great). The vocals are kinda crazy though. A lot of bottles sounds, but much less chopped up than they were in the other couple tracks. Squeaky toys? Radio samples and some crazy speeding up and slowing down vinyl of some tribal thing. Track 6 time. A large shuffling of metal objects (silverware?). Then some small 8bit bloops come in. More field recording signatures (you can hear that low bass of a truck passing by and such). I do like this track more. I guess it's like the ambient piece of the album. Track 7 is completely silent until 5 minutes in. Then it's this array of accordion sounds. Nice. Decent track. Overall, the album is constructed well, but there's very rarely anything that I actually like here, you know? I can appreciate that it's nice noise music, but for some reason this particularly doesn't do much for me.

I'm on Flourescence

Total Run Time: 67:14

1. i'm on flourescence - 19:53
2. strutter in windbreaker - 9:08
3. cartridge dust flicker ghosts - 6:26
4. neon fern, neon kiosk - 2:00
5. how cycles glow - 10:00
6. trickle roves or locket rivers - 10:05
7. put on your coat, we're leaving - 9:42

Second album, let's go. I actually have the CD for this one too! Found it on Discogs. Alright, first track is quite interesting. SUPER glitchy noises. Also a lot more subtle and with a heavy use of silence and gaps. But yeah this one focuses on electronic noises. Also pretty sure there's a porno in the background that has a bunch of glitch effects. Completely unintelligible but you can hear a moan here and there (and also clearly make out the words "fucking horny" at around 3 minutes in. Oh, and don't forget! id m theft able's classic mouth noises! Or as I like to call, experimental beatboxing. This tracks already better than all the one's on E Custodial (well, excluding "anthology of mispellings of the word "moon" pending", that track was great). While this track is mostly the same thing the whole time, there are these occasional bursts of chaos and occasional longer gaps of silence that make the whole thing incredibly endearing. This soundscape works so well. At a little after 10 minutes, it goes silent for a WHILE, then bursts into a subtly different, but super interesting sound. The electronic glitches form an actual melody, there's some distorted screaming now, and the porn clip is sped up to about double speed. I know what I'm describing makes this thing sound absolutely terrifying, but that burst right there was seriously genius. From hereon out, this track becomes amazing. I love it. Sometimes it's terrifying, sometimes it's just beautiful somehow. THIS is what id m theft able's so good at, taking the strangest soundscape and taking the time to build it up into the craziest thing imaginable. Lists of sounds and ideas that just seem so stupid on paper work insanely well when combined, and nobody else could pull it off. Then at about 15 and a half minutes marks the first use of id m theft able just saying "Test Y, my headphones are dead," and that same sound clip repeats a few times throughout the track, it's actually amazing. At 16:30, this super intense sine wave comes in, along with this weird bassy element, the porn is now screaming, and id m is in the background just going "WHY? WHY?" and it's actually one of the most terrifying things ever. Then that segment just ends and goes back to normal with id m saying "I can't fucking hear anything". It's hilarious. This track is so jarring, it's one of the best things I've ever heard. Second track time. It's alright, pretty much more of the first, but less jarring. Kinda like the less interesting parts of the first. More harsh electronic glitches, fast stochastic hits, and experimental beatboxing, along with some distorted screaming occasionally. The addition to this track is the glockenspiel notes that just REALLY stick out. Also the electronics are maybe a bit more prevalent. Track 3 begins with some obvious CD skipping, very nice. Love this sound as always. This track's quite a bit more subtle. It also has this little occasional woodwind flourish that's super nice every time. Yeah this one's amazing. Love it. The little drones at the end are super magical. Track 4 is a crazy skiparound of super loud experimental beatboxing and some radio samples. Actually a really great track too! Super short which also works in its favor. Great track. Track 5 was more of your average stuff. Some interesting resonance sounds, probably made from pipes and such, but that's about it. Interesting, but not really notable. Track 6 is probably the quietest one on the album (almost to the point of particle music, but with just enough actual samples that come in every so often that make it something else). Sorta like Reductionism haha. The last 40 seconds have a CD skipping segment which is absolutely amazing, completely rivals Oval and DISC. Very grateful for these 40 seconds of audio, this one loop is insanely good. This last track is extremely chaotic. Gets those harsh electronic glitches that have been throughout the whole album and turns them up to 11. There's this weird toy piano that's being played with that creates this insane effect. And super amplified singing over the whole thing. Overall, great album with a mix of amazing and weaker tracks.

Head Down Inna Vitamin Blush

Total Run Time: 50:36

1. Livermore Slips - 1:03
2. 30 aspects, 30 angles - 5:25
3. Dancing in the Dark - 4:30
4. inquietez pas, inquitier - 7:11
5. mistaken - 9:12
6. involuntary red response - 1:34
7. the funniest face you could make - 3:18
8. fnan tacy gzone "Ninette Niclair" - 1:56
9. almost hit a deer - 5:59
10. _________ - 1:00
11. I shouldn't of gone (but I had to know (what there is to know)) - 9:28

I remember this album being a really weird one that felt like a collection of completely unrelated tracks. Track one is some cicadas (probably just a field recording outside) while id m does some singing and then at the very end, a few seconds of TLC's No Scrubs plays. Fantastic. Track 2 is utterly insane. Amazingly chaotic glitch music that hits all the right bars. I'll add that I absolutely love the sounds here, they're just the right tambre, a lot of crunches, a lot of samples here and there with perfect EQing. Interspersed here and there are groups of people shouting "LET ME GO!" which is absolutely terrifying. Then the next track is another background of cicadas, but this time there's an a capalla cover of Dancing in the Dark from id m theft able himself! Surprisingly detailed at that too. Track 4 is a guitar strumming centerred around the lyrics "it's not scary, it's fun" and I can't tell if that's supposed to be a background element or if it's the foreground focus, because there's a lot of those avant-garde glitch elements that go around it. But maybe that's the point. It seems foreground, but then it does these crazy breaks in between segments. Track 5 is sort of an ambient track. Again, it starts with the same exact recording of cicadas (which is about the only continuity through this album). Sounds like stochastic gamelan percussion with various nature sounds and id m softly going "sadly mistaken" over and over again. On paper sounds terrible, but in actuality, this track has quite the calming soundscape. He's perfect at creating the most absurdly amazing shit. Track 6 is unlike anything I've ever heard from id m theft able, an undeniably beautiful ambient glitch track among the works of Fennesz and Jim O'Rourke. It's insane how this guy can sound absolutely different from track to track. Track 7 is him singing an improvised song over guitar about "the funniest face you could make" along with a background of what I think is the same exact sound from Leaving the keyboard that plays itself down by the river between 2​:​30 and 3​:​30 AM August 3rd 2017. Other than that odd notability, it's alright. Next track is a really strange melodic avant-garde track. Not sure how to describe it, but it's ethereal in a way. Sounds kinda generative. It's pretty good, especially for its shorter length (doesn't really seem like it's a sound that could last especially long, but it's great for what it is). Track 9 is more of that classic id m theft able sound you always want. Some crazy distorted experimental beatboxing over id m singing an improvised song over guitar (this album actually has a lot more continuity than I gave it credit for wow). It's actually pretty good. Then the end is this weird drony segment with slowed singing, a weird high pitch electronic thing, and some radio samples very in the background. Then it goes back to the original thing, this time with a lot of harsh electronic buzzes which are amazing. Track 10's a short roadside field recording. Last track is another improvised singing over guitars, but I don't like this one all that much. I mean, it's not BAD, but it's not at all notable, certainly a weak note for the album to end on. As a whole, this album blends in these acoustic, almost country-like improvisations with the world of electronic avant-garde music pretty seamlessly, creating an endlessly intriguing listen. Just barely misses the mark for "amazing" though, but still a great album nonetheless, will likely remain in the high end of the second tier for the rest of the list.

Hangin' Flaccid Like a Wet Lilac

Total Run Time: 40:21

1. this dusty erection 'midst peacock feathers - 5:04
2. torch of e-mails - 4:11
3. (((the note((( - 3:09
4. I lonesome cowboy (and I'd better give up) - 2:51
5. pplleeaassiinngg eenneerrggiieess - 5:16
6. bug bit eros, bug bite eros - 7:07
7. t'let me draw the county line - 3:04
8. WBLM always invisibly thru y'chests, Portland - 5:00
9. tub, tubsy, tubsy, tubs, toobin', tubby - 4:39

No extra track art this time sadly. I checked. I keep wanting to refer to this as "early id m theft able" but then I remember that these archives of albums were NOT AT ALL uploaded chronologically. First track is a fairly standard id m theft able track. That being said I do quite like it. A lot of skittering. Very nice use of panning. I very much enjoy the particular radio samples on this. Also the CD skipping is primo. Track 2 is absolutely amazing. It's this absurdist demented faux-melody with an 8th-note centric rhythm in the background that improvised vocals go over. It's really this insane "melody" thing that makes the whole track as great as it is though. Third track's a skipped-around record, and it's one recording in each year along with an overall mono recording that's all unique, but it's all of the same record. Simple, but effective. Great. Track 4's a skipping country record that for a little while, id m tries to just sing what it's singing on top of, but then it suddenly changes to that insane experimental beatboxing with some other song now faintly looping in the back. Again: simple, but effective. Track 5 is super strange. Some weird feeback-based melody with crazy fluxus vocals (maybe that's what I should call it instead of experimental beatboxing). Track 6 is another fairly standard one, but it works really well I think. This one's heavy on CD noise though, so I really like it. Also heavy on just really good noises in general. Samples some pop songs briefly. Amazing track really, I love it. Man track 7's also amazing, it's this weird backwards loop with some very soft whisper-rapping over it. Super chill in a strange way. Like id m's take on Cloud Rap, reminds me a lot of Viper haha (for context I don't like most Cloud Rap, but Viper's sometimes pretty cool). Track 8's another fairly standard fluxus espionage from Mr. Spear, but with a heavy emphasis on radio. I don't like it as much as the other ones. Pretty good though. Last track's not that good sadly. Some slower radio skips while id m softly repeats the title of the track along with other T-words. It's kinda bad tbh. I mean on paper, this isn't too different from his other random ideas that work insanely well, this one just doesn't somehow. I'm not sure how to explain it. Overall, solid album with some amazing moments and some alright moments. Great, gonna go just below the previous one, Head Down Inna Vitamin Blush (I love these titles man). I guess I should probably date this, today is Thursday, May 26th. I forgot to make this one a personal journal, this has been ENTIRELY review and I just fully left this element out wow. I'll make sure to include it in the next one, but for now, I need to get to sleep because I am extremely tired.

Things I Might Write on the Egypt Road Rock

Total Run Time: 57:28

1. Egypt Road - 10:14
2. Suck My Eyes Out - 5:07
3. Massachusetts Grass Ass - 8:40
4. waking up hugging your pillow, erection in your hand - 5:50
5. Phoenix, Arizona or Congress St. Iguana - 7:27
6. sex in threes - 8:18
7. body to body - 11:52

No bonus images for this either. I remember listening to this a while back and absolutely hating it. Putting it on now though, I guess we'll see. Track one already sounds pretty good. This is like a much less polished version of Clean Houses Exude Fear. So improvised rapping over skipping records. But the amazing thing about the first track is the little melody made out of vocal pitch shifts (I think, maybe it's just a synth, but it's amazing). There's actually quite a few layers to this one. The layer of id m just kinda off-beat mumbling something comes in a little while later. Yeah, that track was amazing. Sadly, the next track really isn't. It's a rather minimal loop of some small percussion, and it's entirely in the left ear. The improvised rapping on this one is just kinda annoying rather than adding to it. Track 3's a little less annoying. It's a strange album that's very hard to gauge opinions on, you know? And I might just want to rate it like "how much do I like listening to this?" But I don't know if I can even answer that cause at the end of the day, I'd just rather listen to Clean Houses Exude Fear. This record loop's actually getting a bit annoying surprisingly. sex in threes is easily the worst track on this whole thing, quite possibly the worst track id m has ever made. It's easier listening to it now though since it just makes me think of Cirklon Fenneko Mike & Ike Arithmetic haha. Yeah I sampled this a while back, was fun. The last track is super strange. This time it's just improvisation without any backing. And also it's slightly sped up for some reason. Super bare bones track, not very good. Yeah I just really don't like this album .

Endless Blooper

Total Run Time: 61:57

1. whether to burn or not to burn the furniture - 5:48
2. alone and after the After The Gold Rush gold rush - 3:20
3. y'dreamin' - 3:02
4. stingk - 4:22
5. y'not my sister, not my sister - 7:56
6. I'm fine - 7:14
7. alone and apparition of a 2004 Ortiz - 3:40
8. I keep fucking it up - 8:27
9. Birds - 3:47
10. __________ - 0:10
11. ___________ - 0:11
12. ____________ - 0:12
13. _____________ - 0:13
14. ______________ - 0:14
15. _______________ - 0:15
16. ________________ - 0:16
17. _________________ - 0:17
18. __________________ - 0:18
19. ___________________ - 0:19
20. ____________________ - 0:20
21. _____________________ - 0:21
22. ______________________ - 0:22
23. _______________________ - 0:23
24. ________________________ - 0:24
25. _________________________ - 0:25
26. __________________________ - 0:26
27. ___________________________ - 0:27
28. ____________________________ - 0:28
29. _____________________________ - 0:29
30. ______________________________ - 7:51

Starts with a very harsh glitch piece. Ooh, and there's this crazy trumpet sample too. I'm really liking this a few seconds in. This is two days later, the 28th. Then a little after the halfway point, this strange guitar strumming with singing over it, then straight back to extremely harsh glitch fluxus. Very very fun track. Second track's mostly mouth noises, but with some extra sound effects for enhancement. And it actually works insanely well. The sound effects are pretty sparse, but very helpful in building up this dynamic atmosphere that of course is centerred around the "vocals". Unexpectedly amazing track considering it's mostly mouth noises. Third track's alright, a pretty chaotic record loop with some improvised vocals along with some other effects that come in and out. Isn't done as well. That's about it, it's just an alright track, not that notable. Alright I hate track 4. It's terrible it's annoying it's very annoying. That's about it. id m kinda does a shitty poem about things that happen because of "your stink". Along with some samples from a hiphop track that are quietly thrown in there. That part I like, but I hate the main part. It's also an effect that hurts my ears (which normally doesn't detract from the quality of a song, but this time, it just serves to make the already disgusting lyrics even more unbearable). Track 5 is also quite the chaotic glitch-noise track, but it's also amazing. Probably the best track on this whole album, it really goes through a lot. But then the next track is also amazing. Made out of slowed down CD skipping, an amazing backing track with some desperate-sounding vocals. The backing track has this occasional brass hit that just makes the whole thing amazing. Then what sounds like a stylophone comes in, absolutely perfect. 7th track is another mouth noise one, this time without any external effects. Occasionally he reads something like "fasteners, office supplies, and paint". Alright, not as effective as the other one. Track 8 was pretty good too. Some chaotic fluxus with id m screaming in desperation about "how do you do it? I keep fucking it up" which creates this haunting and intense atmosphere. Track 9 is an interesting callback (or rather, callforward) in which it's a recording of rain hitting some percussion (1 drizzle and 7 rains, 2 autoharps type stuff), but this time, Skot is singing over it. And it's actually kinda nice. Pretty good "end" to the album. I say "end" because tracks 10-29 are entirely silent, so track 30 kinda functions as a bonus hidden track. The last track's pretty interesting and alright. It's this glitchy drone thing with id m singing over it. Decent. Overall alright album. Mix of great tracks and bad tracks. Idk if I would relisten.

Endless Blooper Ending

Total Run Time: 23:25

1. test detest, teste detest - 8:59
2. my dry throat - 4:26
3. blooper thru rot, y'clock fucker - 10:00

Canonically, Organ Standards was actually uploaded in between Endless Blooper and Endless Blooper Ending, but I feel like I should listen to this one first. And yeah, it's pretty much Endless Blooper extended cut. First track's a sample-heavy glitch fluxus track, you know the deal. It's actually quite dynamic and goes through quite a few segments, all of which are great. Yeah, this is a solid track. Also uses that weird echo effect a lot that was in either stingk or y'not my sister, forgot which one (yes, I know I only listened to it an hour ago). Second track's entirely mouth noises, except this time, the microphone is very clear without any distortion. And also it's much less harsh mouth noises, this time it's much more wet and low and bubbly. Honestly don't like it that much. This second track's kinda bad. And last track's more of that glitch music you know and love. Amazing this time, even more sample-heavy. Arguably better than the first one. The end of this track has a lot of fun samples. The same boing that was used in Red Ball. CD Skipping. The "press a button" that I think is from Organ Standards. Very awesome track. Hey, the dog munch sound effect! Yeah this track is insanely good, especially this ending where his screaming gets intense and the glitches start to become familiar. Then he just goes "what's this remind you of?" and it abruptly ends. Amazing work. Overall great companion EP, might warrant a couple relistens.

Organ Standards

Total Run Time: 73:39

1. bird s'may's hazy flutter - 9:29
2. glad toward muskrats in operation - 0:46
3. you can't be true, dear - 6:39
4. glad toward north atlantic sea floor - 1:38
5. get back, zodiac - 4:29
6. glad toward sick morning hues - 1:45
7. high cross on virgin expletive - 7:01
8. hazy bird - 3:42
9. index of unplayed 'truth or dare' 96-04 - 16:28
10. some none - 6:23
11. if lessoned - 15:19

So this is one of my favorite id m theft able albums in existence. I'll probably just put it in the top tier now before even reviewing since nothing else is there yet. This is because oddly enough, this album focuses a lot on melody. It's title is based off of its use of Organ drones. The first track starts with some dissonant reversed drones in an unnerving style, then it has these brief like duck quack synth sounds when it abruptly changes to a much quieter noise. That's pretty much the trick of this whole song. Those duck quacks mark transitions in noises. Also the duck quack things are amazing I love them. The third segment is especially interesting with a use of weird quiet percussion and drones while id m does singing that's subtly not in his normal style. I mean it mostly is, but this time it just sounds *different*, you know? Yeah, that track alone is one of his most unique noise soundscapes ever. And that's just track one. Track two... is a chiptune track. Oddly enough. Yeah it's just full on chiptune, but also the notes are covered by those duck quacks in a melodic fashion. Also there's some quiet static over the whole thing. A very strange track... Track 3's more akin to id m's general style of glitch, but with a heavy focus on vinyl records and organ drones. It's a lot more subtle because of the focus on organs, creating a much warmer sound than a lot of the harsh glitches we've heard before. Also throughout the entire track, this lady is counting. The track ends when she reaches 100. Again, an absolutely fantastic track. I love the focus on organ drones here. Track 4 is another chiptune track. No duck quacks this time though. Track 5 is a really interesting one. It's an id m original rap, but I'm pretty sure it's not improvised. Sounds too organized. It's about not wanting to associate with zodiac signs and it's kinda hilarious. It's over a record loop of some organs. Also he's clapping along and doing a simple bassline in the background. But that's not all! Every time he finishes a chorus, it abruptly transitions to a pretty awesome glitch segment, including a pretty amazing one in the middle where it's some sample of a lady saying "Hello [insert zodiac sign here]" over and over again with like paulstretched id m screams in the background and some other absolutely absurd drones? It sounds extremely psychedelic for a very long period of time, then transitions back into the rap pretty well actually, not even abrupt. It sorta fades out with the sample "it's a wise man who rules the stars and a fool who's ruled by them". Yeah this track's actually really great. Next track's another chiptune track! This time built out of sine waves. High Cross On Virgin Expletive is probably the best track on this album. Starts with some quieter organ glitches and some classic mouth noises, which then transitions into this really nice record skip which drones on perfectly as id m tries to harmonize with it for a little while and it somehow works amazingly well. That record skip drone segment comes in a few times during this track. It switches back and forth from harsh glitches, to organ skipping over mouth noises, to id m harmonizing with the record skip. And every time that harmonizing segment comes in, it's absolutely perfect. This is one of my favorite id m theft able tracks out there. The segment at about 3:45 is one of the best things I've ever heard, some extremely harsh CD skipping which transitions into a very short chiptune segment, then back into the organ over mouth noises, then back into the harmonizing. This track just does everything perfectly man, there's no other way to describe it. Oh then at about 6 minutes in, it's this harsh single note (I think it's a saw wave? Something like that) and id m kinda tries to harmonize with it, and then the wave explodes a couple times, and that's it. It's a very great ending. You just have to listen to that track. Track 8's the first even numbered track that's actually not a chiptune track. It's the same disonant sounds from the beginning of the first track (hence the similar track title), but much more distorted this time. And with some stranger noises in the background. This track is pretty dynamic and flowy. Very great as well. Track 9 is a bit more "chill". I mean the glitches and stuff are a bit more subtle and sparse, it's a really drawn-out sound collage. Sorta brings in a lot of the sounds we've heard before together, but in a little different context, a bit more drawn out, and sort of different versions. There's clips of counting again, but it's a different person this time, and it's within a crowd. At like 13 minutes in, it all sorta turns into this noisy kinda-sorta-bossa-nova thing (it's not that but I don't know what to call it) that id m sings over and it's actually pretty damn good. Sounds a lot like The Residents (old school Residents of course) at this point. Some None is amazing. This ultra simple drone melody that goes on the entire track. Id m sings this thing that's obviously improvised but again, somehow works insanely well. Then it pauses for a second. Then it comes back in and instead of singing, it's id m's classic mouth noises, along with someone saying every letter of the alphabet, followed by an enthusiastic "yay!", along with the numbers 1-20, again with a "yay!" at the end. It pauses. Comes back in with id m singing the thing again. The singing by the way consists of listing two objects then either saying "something left for you to see" or "nothing left for you to see". Another one of those things that sounds terrible on paper but somehow works amazingly. Then it stops with what sounds like the flick of a switch which is just an amazing ending. Time for the last track. Starts with a pretty long sample of a basic music theory lesson (maybe a piano lesson, he uses some organ samples to demonstrate C scales). Reminds me a bit of those segments where either Darin Gray or Tim Garrigan is teaching the other some pattern on You Fantastic!'s Homesickness album (that's another amazing album by the way, you should totally listen to that) Quite a few of these lessons are layered over each other. And it's just organ drones of chords after organ drones of chords. It's a really nice laid back ending to the album, no glitches or anything. Just nice warm samples of evidently old piano/organ lessons. Near the end though, it does start skipping a little bit, but it's still toned down and warm. Id m starts harmonizing a little. When it ends, it cuts off abruptly with a sped up vocal yelp. Interesting ending. Quite the fantastic album, definitely still holds up, definitely a must-listen out of his discography. Cannot recommend this album enough, it is insanely good.

Babb's Bridge

Total Run Time: 87:43

1. Hurricane, Covered Bridge, and Wilson Roads - 4:27
2. Hooded Mergansers in the Melt - 5:04
3. 'hams and 'mouths ("hums and myths") - 7:34
4. Presumpscot Vapor Strands - 4:03
5. Gasps and Asterisks - 6:45
6. Gambo Powder Mill Explosions - 4:59
7. Babb's Bridge - 10:25
8. [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[reading the inside of Babb's Bridge - 44:26

Here we are, undoubtedly id m's most popular album. If not only because of the amount of copies it had (multiple hundreds of LPs, don't remember the exact number). Also had an edition of Mang-Disc cassettes and CDrs (I'll be receiving one of the CDrs soon actually). First track is incredibly loud and noisy with a heavy focus on these loud brass-like stabs. For some reason, this album in particular reminds me the most of Caroliner. Maybe it's just the fact that it's on LP, but these brass stabs into id m's mouth noise reads a lot like the structure of Hazel Wet Lap. It also has a pretty similar tambre (again, might just be an artifact of it being an LP). It should be noted that ONLY the cassette of this release contains the final track. Probably because the other two formats (CD and LP) were too short. All it is anyhow is a recording of Skot reading all the graffiti he sees on the inside of Babb's Bridge (yes, this is an album dedicated to a real covered bridge in Maine). Second track is a few layers of similarly structured mouth noises over each other (which is actually kind of interesting how well the layers are structured and work together). Some of these particular mouth noises are disgusting though man. I mean I have a high tolerance for this stuff, but this track is just hard to listen to. Some of these noises are just so *wet*. Track 3's your pretty average id m theft able glitch track, except at the beginning and the end, there are these weird outdoor percussion sounds, almost like wind chimes? I think some are wind chimes, but some are just way to staccato. There's also this segment at the end where some news guy lists every school district in Maine and how there is no school that day for them. Track 4 is a glitch made out of id m hums. Seems like maybe that one should've been called "hums and myths" instead. HOLY SHIT GASPS AND ASTERISKS. THAT MILITARY MARCHING BAND WITH THE HIT IN THE MIDDLE OF IT. DUDE THAT SOUND HAS BEEN PLAYING IN MY HEAD FOR YEARS AND I FORGOT WHERE IT CAME FROM I THOUGHT IT WAS FAUST FOR SO LONG DUDE I FOUND IT LET'S GO THIS WAS ALL WORTH IT. But yeah this track's pretty great anyhow. Some of id m's more normal glitch, but I do really like how this one in particular is done. Clear segments that are a lot different from each other and separated and it's all just organized really well. Oh, this is also the one with the little keyboard waltz song in the middle. Damn how did I remember this much about this one song? I swear I've only listened to this album once or twice. Oh and there's this part at like 4:40 in that's this extremely harsh squeal for SO LONG. This is quite possibly the most harsh noise id m has ever created. No wonder this record reminded me so much of Caroliner actually. Those military band segments go hard. Track 6 is like id m theft able mouth noise but also like he's instructing an audience to make the same noises as him? Sometimes the voices sound different than him, but sometimes they sound the same. He gets them all to scream really loudly at some point. It's actually pretty interesting. This feels like the stupid "roller coaster" thing we do in band, but this time it's art! No, but I do actually like this track, it feels quite surreal. Next track, the "last" track. Starts with this big whoosing and whipping sounds (you know, whipping some stick through the air type of sound), then it transitions into this brilliant musique-concret piece that utilizes a lot of drones on top of glitch to create this insanely intense atmosphere. The drones that come in around 4:30 are absolutely perfect man, they make it so intense so fast, they were honestly kinda scary. It brings back some of the "audience instruction" segments. It has this crazy stochastic percussion over the whole thing (I know I keep throwing out the term "stochastic", but that's really just the best way to describe a LOT of what he does). A lot of these sounds are just a lot less glitchy and a lot more recorded performance layers. You can hear so much percussion and long stabs at things that make the whole thing feel insane. Then there's only about a minute left, and things start getting a lot more electronic. It's getting more intense with this drone that builds up... and then it just kinda stops. All that's left is a *little* bit of stochastic percussion. And that's the end of the album! Technically. I mean, we still have this *one* track that's actually a little over half the album. I mean it's literally just the title, reading the inside of Babb's Bridge (I hate using the word "just" cause it sounds like I'm oversimplifying it, which to be honest, I am. It works in context of the album. Id m does this thing where the culture around Portland Maine is so heavily ingrained in his albums, it feels almost inappropriate NOT to indulge in something like reading 40 minutes worth of graffiti). It's actually not as unbearable as you would think, it's sorta nice and ambient. Occasionally you can hear the sounds of cars passing. Also sometimes id m bangs something, presumably with a stick he's holding. Quite a bit of expected profanity on this graffiti. There's also some people in the background sorta yelling at each other. I have a feeling they're just loud kids though. For a long time id m stops reading and just lets the sounds of them play out. I swear he read over the same "Jessie, I fucked her, June 9th 2004" like three times now. Overall, great album. Not amazing, but solid, worth a couple listens. Gasps and Asterisks is definitely worth the listens alone. Reading the inside isn't 100% necessary either.

Which Ponds Y Which Sugars Y Witch Ponds I've Witch

Total Run Time: 70:51

1. Ives Ponds - 1:45
2. Caribbean Queen - 5:26
3. At Arts A'Sp'Ew And Crafts A'Bu'Rst - 7:03
4. Coverdale Pose - 8:24
5. Flying Squirrel Night U, Chickadee Day A - 9:54
6. Pond Eyes - 4:13
7. Which Witch - 5:44
8. Isles of Sort W or W/O Mouse - 2:08
9. E Vent Y Llama Asucars - 5:37
10. Of Sun and Cloud - 5:31
11. Witch's Pieces and a Piece of Your Nose - 7:16
12. New Hampshire Shaped Cake or Her on a Rock - 7:50

Oh my gawsh, another one of my favorite id m theft able albums ever! This one's also insanely good. It's actually a combination of two albums: Which Witch (A split with Crank Sturgeon, tracks 7, 2, and 11 (with an additional track which accoridng to Discogs is just called "W" but I don't know if that's a typo or if that ended up being renamed on this release or something)), and Zones Y Ponds Y Sugars I've (A split with Cave Bears, tracks 1, 3, 8, 9, and 6, which I actually own on vinyl!). Now, where do tracks 4, 5, 10, and 12 come from? No clue. But anyhow, this whole thing ended up being it's OWN cassette release (Mang-Disc #73), and here we are. First track is this beautiful drone with a recording of little kids happily chanting a couple nursery albums (seems like a home video of sorts). It's kinda just stunning. Second track is a harsh glitch track, but it's these short spasms of noise interlaced between this sort of odd hum. The glitches also seem pretty powerful. This time there's reverb! Ends with a nice little guitar segment. Third track starts with a nice piano fade in, and then quickly transitions into more harsh glitch music which sounds pretty similar to track 2 (which is a little odd considering they were from different albums). But then, after a short segment of that is when this album really starts to shape up. The plunderphonics on this track in particular are insanely well-done and impressive. There's this segment that keeps coming in of some guy in a horrific voice shouting shit like "get off the road!" or "walk it off jackass!". Also a lot of heavy electronics that create this totally intense atmosphere. And then everything stops and it's just Skot singing something while tossing a coin around. Quite a few things here that sound like one of his live performances. I need to watch more of those, those are always super fun. So I actually own a couple CDs of stuff that isn't on his Bandcamp, as well as finding some rare stuff on Soulseek. So when I'm done with everything that's on HIS Bandcamp, I'm going to start ranking and reviewing albums that I just happen to find elsewhere. There are a few albums on Bandcamp that are on a different Bandcamp than his. Some are some label singles, some are collaborations. But I'm going to get to everything I can get my hands on! Ooh, at 5:30, forgot how much I love this segment. A little loop of something triumphant as id m tries to cover over it with a straw. Genuinely amazing noise as it's just kinda placed in between everything else. Yeah, I forgot how perfect this track is. Honestly makes the second track "Caribbean Queen" pretty forgettable. Track 4 is one of the best id m theft able tracks of all times. It's sorta in that same vein of things that sound god-awful on paper but somehow work insanely well. Pretty sure it's a Whitesnake song (hence the name, "Coverdale Pose") that keeps skipping in and out, and id m tries to sing over it. Also this random skipping accordion thing that goes over pretty much the entire thing. Sometimes there's stochastic percussion and mouth noises as well, don't forget that part, but somehow everything about this song is just done *PERFECTLY*. The noises at 2:18 that go over the song as the song sorta transitions into a mid-point just works absolutely perfectly, almost orgasmic man. Like it's just the Whitesnake song, but id m sorta does all of these things on top of it that make it perfect. His disingenuous and out-of-tune singing over the whole thing is somehow just hilariously magical. The fact that whatever's playing this Whitesnake song is just skipping in and out, creates this amazing atmosphere. This song is just so fun to listen to and everything about it works so well. And I haven't even gotten to the most confusing part! Every once in a while (like once every couple minutes) everything cuts out and in the left ear only it's just this recording of some guy saying some stupid vulgar shit. A couple of them are just "Fuck you, I want to suck your dicky-doo" I don't understand why it works so well but it's just so jarring man. Ok yeah, the Whitesnake song is "Still of the Night". The part at the end where it just skips over Whitesnake repeating the line over and over again as id m desperately tries to keep up with it. Ooh, one of the vulgar samples is in the right ear this time! Track 5's a glitch track interlaced with more skipping radio and harmonica. A lot of quiet parts too. More straws. It's a much more interesting noise track than track 2, I just end up running out of words to describe these things man. I'm on the tenth id m theft able album and I swear I've repeated the word "absolutely" like 50 times. Oh jeez there's this bird sound which I'm pretty sure is a Blue Heron. Why do I think this? Moral Orel analysis YouTube videos babey. But yeah that unintended context makes this whole thing a bit more terrifying. Also this weird synth that keeps looping these three ascending notes. Anyhow, Pond Eyes is *ANOTHER* one of id m theft able's best songs of all time. It's an oddly beat-centric one too. Like it really feels like id m's take on IDM (Oh God, maybe it was on-the-nose this whole time). It's these super off-kilter beats that skip around. I'd be interested in hearing the original sample material of this actually. But it's insanely good yeah. After the off-kilter beats develop for a little while (super intense bassline too). This harsh feedback comes in and it looks like id m is using a feedback-infused microphones to sing this haunting song that goes over the whole thing. The lyrics are unintelligible because of how much noise is over it (really getting into that Caroliner territory now). You know what, this might actually just be my favorite id m theft able song period. Oh and then near the very end of the song, the beats add a layer of extra fuckery. And then that's it. Pretty great song man. One of the most song-like songs he has to offer and it's pretty damn good. Yep, you guessed it, track 7's pretty damn good as well. This is where that "press a button" sound comes from. He keeps hitting letters on that toy from the words "Which Witch". Then it says "bye bye!" and explodes into this crazy and extremely harsh glitch-noise with a lot of majestic samples that are just amazing. More little kid home video thing samples too which are just great. Also this one sample that comes in of some guy listing his rock records. I love that sample too. Every once in a while, you can hear Skot just repeating "Which Witch" over and over again. This whole track is just haunting and amazing. Another great track which I simply don't have enough words to convey how great it is. Just listen man. Oh shoot, I forgot track 8 was from this album. Another great one. It's this really cool percussion beat loop thing with this synth stab that keeps coming in on beat. Skot sings in a super deep voice which is already just a super cool atmosphere. But then there's these deep glitches that come in on beat every once in a while. Oh shoot, id m coughed cause his voice was so weird. But there's two more layers to this song that make it so great. There's the weird ass high pitched vocals that quietly whine throughout the whole track. And then there's the use of the "Hello, how are you?" samples which are the best icing on this cake. Amazing track. Kinda perfect for its length too. Track 9 has some more of those low vocals, but it's no longer a beat based track. Another super harsh glitch track with a lot of subtle moments! That's about all I can say man, it's another insanely good track. It'll transition from quiet to loud moments. with id m just going "lee-doo" over and over again as it gets progressively louder and intense. All around amazing track. The glitches here are great. There's this looped sample where everything else cuts out and it's a couple low guitar notes with id m's super low voice just singing something, then it cuts back to noise. Idk man, just listen to this album, it's probably id m's second best ever (besides you know, the ONE (which actually is the very next album! Let's go!)) Track 10's also great, another track I forgot was a part of this album in particular. It's a guitar thing with higher id m vocals and the main portion is this looping guy saying "Of Sun ad Cloud" and part of another word that gets cut off before the point of being able to understand him. Oh it looks like it's part of a weather report. His voice is way too nice for being a weather report. It skips into the rest of the weather report which is pretty nice. Yep, another great track. Maybe goes on a little too long. Track 11 is a decent one. More harsh glitch noise, this time with a skipping record version of Hard Knock Life at the beginning and a TON of wet mouth noises at the end. You know the one. Probably one of the more forgettable tracks on the album, along with track 2. Track 12 is bees. Presumably he put his microphone next to some bees? It also kinda sounds like bees trapped inside of some sort of glass jar. A lot of tiny glass noises too. Very angry bees, they were probably trapped in something yeah, it sounds like a field recording of that. Nice way to end the album, I remember this track being significantly louder than it actually is. Anyways, amazing album. Probably my second favorite from him, behind the next one coming up actually. Pretty much entirely fantastic tracks with just a couple weaker ones which are still great anyways.

Smidge Beats

Total Run Time: 55:04

1. some cooperative beats weave through the corn - 15:14
2. too summer in your crystalized kool aid wounds - 5:09
3. just a smidge - 0:47
4. with our love we smooth the earth of mountains - 3:07
5. Addis Ababa I can spell Ethiopia - 10:21
6. the birth of yet another professional building - 4:36
7. puzzle of 1996 or so - 3:39
8. by the time I get to Sabbathday Lake - 12:11

Well here we are, my favorite album of all time. No, not just out of id m theft able albums, this is hands-down my favorite album of all time. It's strange why I haven't done this listening project sooner actually. Originally I had just reserved listening projects for people who I thought were complete anomalies, and id m theft able, despite his music being quite strange, isn't an anomaly himself, ya know? There's nothing THAT strange about the music, however inaccessible it may be. It's not this insanely thought provoking and controversial thing like Bull of Heaven or even RINGEX PLASTER. It's avant-garde music! Some of the best in existence, but still not anomaly status, ya get me? Anyways, I have a LOT of history with this album (I mean it's my favorite of all time) so this single review is probably going to turn into some sort of ranty essay. Anyhow, here goes nothing. This thing just STARTS perfectly. The album is themed around CD skipping, so you already know why I love this so much. Starts with some skipped rap vocals that are *iconic*. It lasts a few seconds until the beat kicks in. Skipping beat, more skipping rap vocals, and this singing girl that just kinda loops this long note for a while. But again, done absolutely perfectly. This is the best CD skipping I've ever heard and honestly a big reason why I love CD skipping in general (thanks also to DISC and Oval). Then the Southern Comfort vocals kick in (pretty sure this is what was skipped around earlier). After the first Southern Comfort verse is done, it transitions into a really noisy and skippy segment. This one stretches for most of the track's length. This honestly sounds so much unlike anything id m theft able's done before or since, it just doesn't have any of his trademarks to it. No lofi grittiness, no mouth noises, no singing over it, no external glitches. It's ALL CD skipping (and apparently tape loops and vinyl too). But it's SOOO good. I was actually able to talk with id m theft able a little bit over Instagram about this album. Turns out it's edited down from a live session where he was asked to fill in a show for a hiphop group (hence a massive use of rap and hiphop samples on this). Another reason why it doesn't sound much like his other stuff: this album was under another alias originally. It was originally just Smidge Beats by Smidge Beats. He made it for his girlfriend who used the word "smidge" a lot and told her it was from another artist and she played the thing in full on her radio show, realizing by the end that it was him. Also there's apparently a Smidge Beats 2 out there. Unfinished, sitting somewhere in id m's house. I asked for it, he says he's keeping his eyes peeled. I don't know if I can physically describe why I love this album so much as much as I can probably just tell a few stories about it. I listen to it on most road trips I go on (although recently, it's been Black Country, New Road and Godspeed You! Black Emperor). This whole atmosphere on this track man, it's so dense and filled with these looping samples that you can just miss or listen to. It's really easy to get lost in because it's all about skips and loops. It can be so subtle and so in-your-face at the same time. It's the best album of all time man. That's just it. You just have to listen to it man. It's so unlike anything else he's ever made, but at the same time, it feels in place. The last three minutes of the track, it changes back to how it was at the beginning, less beat based and structured. Then this like movie sample comes in or something? Now it's lofi and gritty. I kinda forgot this part was in here, but it's one of the best parts of the album, how all this chaos just calms down and it's some chill singing from a couple of guys in a lofi movie or something (still not sure what it's from). You can hear everything slowly collapse as clips fade in. It's just really nice how everything's done. It's so hard to believe that this was an edit from a show or something. There's also this super weird beat which I'm not sure where it comes from, but it layers with another. It just ends so perfectly, I'm not sure how that would transition naturally into ANYTHING in a live set, it feels like it just ends right where it should! Then the next track begins! And it's this magical gospel choir, then Southern Comfort comes back before some SUPER harsh noise (probably the harshest on this thing). Kinda sounds like Minions (sorry for the comparison, I know this outdates the existence of the Minions). It's a lot of reversed vocals at different speeds. This track's great, it feels like an extention of the previous track a bit. A lot of shared samples. I always have to turn this one down, sometimes the loud harsh samples give me a headache. It's pretty much just really loud reversed speech though. Again, one of those things that sounds terrible on paper but just works so well in real life. Just listen to this album!!! Track 3 is amazing. A little organ ditty that's skipped around. And then this strange, but amazing pop song that skips around like CRAZY gets layered over. Then the next track is JUST that pop song. This is why I wonder so hard about how this was at ALL sourced from a full live set. These two tracks are so perfect and they feel so stand-alone. Track 4 is probably my favorite song on the whole album. It's beautiful how well this song is mangled and just how well it works. There was also a very long time where I didn't notice the construction noises in the background. It's amazing, it's one of the best tracks ever. Then track 5. Track 5 is a very psychedelic one that you can just get totally lost in. It's a really crazy atmoshpere that I love so much. And it's pretty much the same sounds for ten minutes, but it changes in subtle ways throughout the entire album. Now I've listened to this album like 20 or 30 times so I can pick up on what's happening now. There are these like weird beat things that I have no clue where they come from, but they're like deep bangs? I have no real clue how to describe them, but there's a lot of them. And sometimes a few more layer in. There's also this layer of skipping vocals that's looped, but it changes how the sounds loop every once in a while. The drone in the background is absolutely perfect. This drone is so good and for it to just have all this perfect chaos going over it. It is one of the best things I've ever heard. It's precisely why this album is just so perfect down to its core. Let's talk about how I first got into id m theft able, cause this album was actually one of the first things I heard from him. It was the first one I actually sat all the way through. I remember browsing some of his Bandcamp and then just being completely captivated all the way through this one in particular. So I was looking up reviews of this weird compilation CD I have called "What Would Jason Do? Go And Do Likewise!" It was a remix compilation of sounds of Jason and his wife painting porcelain pigs and there's actually a few impressive names on it. Venetian Snares, V/Vm, Kid 606, Speedranch. I can't even find the website anymore. Anyhow, the website had a page dedicated to funny band names (it was an old ass website man) and one of them was an older alias of id m theft able. Well it was interesting so I looked into it and here we are. Track 6 now, pretty much part 2 to track 2. Contains the same harsh vocals and stuff that was pretty characteristic of the second track, brings back the Southern Comfort vocals, but now brings in the track Get Hype by Mali, which is a big theme for the second half of this album. This is probably my least favorite track on the album, but it's hard to ignore as an essential part of this album. Again, this album's just so great and perfectly done, this track really is essential. It might actually have super distorted id m vocals, but it's hard to tell. Track 7 is another magical one. Track 6 at the end starts to calm down (it's another super chaotic one) and pretty much slowly eliminates samples until it's just Get Hype (hmmm maybe that will come back later). Track 7 picks up off of that by being constructed out of silence and extremely short samples. It's just super short plunder samples between CD glitches and silence. It's really a perfect track. So great for being right before the end of this album. Now the last track. The climax of everything we've already heard. Has some of the samples from track 4, but it loops in this way that's sorta like a drone. It creates this drone-based melody that goes through the whole track amazingly. It sounds melodic, but it's a huge drone that's the back of the track. Some looping vocals. And then... this track name. by the time I get to Sabbathday Lake. It's apparently named after a dying religious sect, the Shakers, who live on Sabbathday Lake, pretty close to id m theft able (he informed me). And the main sample that loops and skips around pretty much the entire track is sampled from a record of shaker songs... odd. Here it is. There's also this saxophone that comes in quietly into the background and loops. It's this last beat based section and it's just all amazing man. This last track is really just a combination of everything we've already heard, it infuses id m's connection to Maine in here (think back to Babb's Bridge and a lot of the titles he's named after locations in Maine (and oddly enough New Hampshire too, Livermore Slips off of Head Down Inna Vitamin Blush was named after Livermore Falls, New Hampshire)). Yep, 7 minutes in, Mali's Get Hype kicks back in. This track is so chaotic but climactic, it's really the perfect ultimate buildup of everything else from this album. It's so strange after listening to it from id m's Instagram revelations (this is where I found out about the origins of the Shakers sample, and I haven't actually listened to this album since that conversation). This shakers sample has been building up so much too, now there's like ten of them looping over each other. Then all these background stuff starts going away as it's just the a cappella of Mali's Get Hype. Yep, just the vocals. Everything goes away EXCEPT Get Hype and the Shakers sample. This part is so insanely good. This rap is kinda interesting too. Again, just listen to it man, it's so perfect. Slowly, the Shakers sample goes away and it's just the rap from Get Hype. Then it all slows down into silence. Perfect ending. Perfect album. Best album of all time. Just listen to it man. So on the first day I listened to this, I knew that somewhere, a CD of this album existed. And of course, I had to get it. It's listed on the Mang-Disc catalog as #36 So it was definitely released a WHILE ago (all the way back in 2004!). And oh no! It wasn't on Discogs! So it's long out of print and nowhere online, how am I going to get my hands on this? Well... turns out it IS on Discogs. It's just listed under "Unknown Artist" for some reason. And a copy was being sold! For like 8 or 9$ too! It was unbelievable, I got that so fast. That's how today, I own a rare id m theft able CDr. Thanks for all the lovely listens man! Please listen to this album it's so good.

errored jellies//jellied errors

Total Run Time: 79:10

1. 15 - 0:16
2. dollar, dollarless - 3:59
3. banana, coconut - 13:31
4. 15 - 2:12
5. not actually 18 minutes at church - 16:57
6. 15 - 3:02
7. jellied errors - 13:13
8. assorted jellies - 6:41
9. his lake, his lake hiss - 12:44
10. 15 - 0:16
11. you shall know the truth - 6:03
12. 15 - 0:16

This is a strange one. Released on 8-track originally. I remember this not being a particularly interesting one in his discography, but we shall relisten I suppose. First track is someone saying "In 15 seconds from now..." followed by some quiet static. Second track seems to be a noise edit of a cash register sound followed by adding a telephone ring to the mix. It doesn't ever get particularly that interesting, definitely goes on too long (weird since it's only 4 minutes long to begin with). Track 3's a bit more standard, but this one focuses a lot on lower rumbles and harsh glitches (stuff that actually sounds like it's sourced from Audacity Raw Data experiments, which I always love). Also a lot of stuff that sounds like it was recorded on my old laptop's microphone (which was famously shit). It's an interesting track. It starts getting pretty good around 5 minutes in where these loud bangs and vocal samples come in (it's like a crowd and then some guy who sounds like Negativland's Weatherman saying "Okay everybody," then cue more noise). Eventually more tangible noises come in and it actually feels like it's building up to something incredible (which it did not feel like at the beginning of the track). id m's signature mouth noises are a lot more subtle and toned down on this release. I mean, they're definitely there, but you have to look for them to find them. He only says a *few* things in this track, which is definitely odd for 13 minutes. But yeah, this is one of id m theft able's most subtle tracks ever and (contradictorily) most classic harsh-noise tracks ever I think. Yeah it's great, this album's shaping up to be better than I remembered. Track 4 is strange. It loops the "In 15 seconds from now..." vocal clip every 15 seconds (it's actually a little bit slow, so it's more like every 16 or 17 seconds). Yeah, not a great track, but it does serve to sort of emphasize just how strange this release feels. I mean it's normal id m theft able, but something about this one in particular is just a bit more uncanny, unsettling, and creepy. Something feels absent. Or maybe it's something added. Additionally serving this atmosphere, the next track begins with a quiet cough, followed by some like desperate mouth air and quiet choking. Some of id m theft able's more strange mouth noises. Also a *super* quiet organ thing playing in the background. Alright, it seems to slowly get louder. Or maybe I can just hear it better, I have no clue. The mouth noises get more general, but it's still a very quiet track. Then it sounds like he's quietly blowing out of a recorder for a little bit? Not sure what it is, but it's slightly tonal. THEN things start to get louder. And by things, I just mean whatever the hell mouth noises id m is making. They're not fully loud yet, but there's spikes. And he's clapping here and there. Yeah, I'm not sure how much I like this track. It was creepy for a couple minutes, but now it's just going on for 17 minutes and going what seems like absolutely nowhere. Track 6 is track 4 but extended to 3 minutes (I don't know why this keeps happening). Oh, you didn't think this album was creepy enough? Track 7 is one of those like music boxes thing except it's a bunch of them and they're all skipping around and layered over each other. The only other element to this track is the harsh vinyl skipping sound. It's a really cool atmosphere actually. Reminds me of the last excerpt of Bull of Heaven's 210: Like A Wall In Which An Insect Lives And Knaws (I need to get through those excerpts in full at some point). A lot more harsh though. Anyways it gets boring after a while. Would I judge Bull of Heaven the same? No, because the context is that you're supposed to lose yourself in it over an hour, this track is supposed to be part of this chaotic album from an artist known for making some of the most dense music of all time that it's actually usually impossible to get lost in. Not to say that this track doesn't fit his discography, I'm just going on a bit of a tangent about why this sound doesn't work for 13 minutes in the middle of an 80 minute album, but why it does work for an hour out of a twelve hour album. I don't know, music is weird. Just goes on too long mate. Also this sound is so much louder than the entirety of track 5, it's giving me a headache. Track 8 is nothing but very very wet mouth noises for 7 minutes and I hate it, it's very hard to listen to. This whole album is so strange, but it just doesn't go anywhere ever. There are some very cool ideas here, it just doesn't really do much with them. Which is fine, it's just that the sounds don't always work. So in the grand scheme of things, when you have 60 albums and most of them are great, what does that make this one? Does it really matter that it's not that good? Nah, just listen to a different one. Alright track 9, close to done with this thing. It's all just so strange mans. Very strange track. A lot of quieter and more subtle manipulation of static. Probably tape hiss too. Oh and there are these completely unintelligible voices pretty far in the background, sometimes some quiet water splashes. It's just weird. As the track goes on, the static gets louder. It actually pulses, quelling and raising itself a lot. But as it goes on, these harsh buzzes start coming in occasionally and the static *as a whole* gets louder (still pulses, but definitely louder). Oh it's a very intense and scary track. THIS is his most classic harsh-noise track actually, correction from earlier. It explodes about halfway through, then throughout the rest of the track, the static progressively gets quieter until the track's no longer about static at all, it's about all the extra noises, id m's extended mouth noises, the harsh buzzes (which are at a pretty high frequency now), the water noises. I mean, in theory it's a great track, but it's just not that fun to listen to. It kinda hurts. Track 10's another "in 15 seconds from now...". Track 11 starts with this actually really nice and euphoric loop of presumably some church song. There's a version of it in the left ear and right ear which are originally aligned, but one of them's *slightly* shorter than the other, so they progressively get misaligned. Interesting effect. It continues for 6 minutes until it ends. That's it. I do really like that track somehow though. Last track is another "in 15 seconds from now...". Alright well... overall, definitely id m theft able's most strange album (that I've heard at least). It can get extremely uncanny and anxious. But it's not that good. Some of these things just go on and on and on and there's not really much to gain from listening to it other than slight unease. It's alright, it's not full-on bad. Just, skippable. You know? Track 3 is really cool though, that might be one to keep in mind outside of the context of the whole album.

Oboe Cold

Total Run Time: 55:27

1. Oboe Cold - 24:55
2. Not Oboe Cold - 30:32

First track starts with a lot of skipping samples. Yeah it's mostly skipping and short samples of things, but it actually starts to get pretty good. A lot of the skipping segments just have this great tonality to them. Some samples repeat occasionally. About 9 minutes in, it actually starts to sound a lot like Oval. This is really impressive skipping material, I quite like it. There's such a vast array of samples here man, this stuff is so damn cool. Yeah this first track is one of the best things ever, pretty much entirely CD skipping too. Love it. Second track's a lot different than the first one. If it was more of that stuff, this album would definitely go in the Amazing category, but idk it's just alright man. This second track's not that great, plus it's longer. No real reason WHY it's not that great other than, it's a lot of stuff that just doesn't do it for me. You know? I mean ultimately, that's what it comes down to when judging music. They can't all be winners. Huge emphasis on layered mouth noises here. I mean, that's pretty much the whole thing. I mean there's some electronics, but it's mostly mouth noises loops and it just gets tiring.

1 Baked Hand

Total Run Time: 25:01

1. 1 Baked Hand - 19:37
2. Goodbye Yellow Brick Road - 5:24

Today I recieved my order of id m theft able CDrs from a week ago. It was awesome, I got these albums on CDr: Leaving the keyboard that plays itself, Babb's Bridge, n's on Fire, Popsicles, A Heart Named Spooky, and a Shea Mowat album. Very very cool CDrs. Additionally, he gave me a couple of the original breaded scallops stickers from Smidge Beats. Oh and I keep forgetting to date these reviews, today is Friday, June 3rd. I also FINALLY got my driver's license (let's go). This release is incredibly simple, but I actually do really like it a lot. It's pretty much id m theft able singing and rambling about one baked hand and the other qualities of that hand meanwhile in the background, a radio is screwed around with a lowpass filter. Sounds bad, but again, it's actually done really well in a way that is incredibly hard to explain. I don't know, it just works for some reason. I especially like the radio samples. Near the end is probably the best part though where he just makes these sounds that sounds like he's in pain and in between sometimes mutters "forklift" it's hilarious. Then the end, it's the Take It Easy song by itself but extremely low quality. Love this part. This whole track's great. Second track's also great but very simple! Elton John's Goodbye Yellow Brick Road, but slowed down and with a lot of vinyl crackle and a huge phaser effect over the whole thing. Also these harsh electronic beeps sometimes. It works amazingly again! Actually sounds pretty uncharacteristic of id m theft able, this sounds a lot more like something somebody like RINGEX PLASTER would do. But nah, this is cool! I love this release, it's stupid good.


Total Run Time: 53:01

1. poking, types of - 3:48
2. sweet release - 5:01
3. stair edges, corners made by stairs, under the stairs - 7:06
4. o moon true - 3:09
5. everyone's _______ is over - 9:00
6. this just ain'tchyer day - 8:56
7. you're not affected by it - 5:34
8. squeezed fats of september - 5:28
9. whale flaps splash Svalbard intact - 4:59

This one also reminds me of Caroliner a lot. The intro track here sounds pretty similar to the intro track on Babb's Bridge I'd say. Some looping piano thing, loud as duck quacks (for real this time), and some other crazy noises here and there. Pretty cool song. I actually have had the CD of this for a while now, probably the coolest one of his CDs I own since it came packed to the brim with random shit. Oh, this is also the one with the little 8-bit lullaby at the end. Yeah, I remember this album being one of his best, let's see if that still holds up. Track one's already great. I haven't listened to this in a LONG ass time. Second track's pretty weird. A lot of stacatto and electronic harpsichord like sounds? Not fully sure how to describe it, it's a super strange effect. Relistening to this album, I actually remember how good this one is. Second track's a little bit of a miss, but it's overall an extremely odd album. And I think a better comparison is that this album is pretty much just errored jellies done right. Basically the same atmosphere and everything, but I just love the ideas here and how they're pulled off so much more. So I'm actually updating this website a couple weeks later than my 1 Baked Hand review (it's now Thursday, June 16th). Mostly because I've been out of town (still am). I had my first MTS AIRMASS concert on June 6th and I actually listened to this album in the car, remembering quite a bit about it since I actually paid attention pretty hard that listen. Second track probably is my least favorite on the album though. Track 3's a really good one. Made up of a lot more subtle and quiet parts. If anything, this is like errored jellies' track 9 done right. All the extra samples in this track are genius though. In between long bouts of subtle glitch, there's things like random glockenspiel notes, small radio snipets, more stochastic percussion, the whole jam. The sample at the end where it's just some guy getting his kids super excited about a big restaurant is one of the most hilarious things I've ever heard, it's genius. These first four tracks flow into each other extremely well, you almost miss the fact that there's a transition between tracks entirely. At some point I'm probably gonna remove the word "Bandcamp" from the title since after I'm through with his Bandcamp, I intend to review everything I can find elsewhere, in no particular order though. In fact, I'll just do that now. o moon true's an alright track, it's short, it's not really that notable. I mean it's good, but it's one I definitely forget about. Alright, track 5 is probably the most memorable on the album. You could argue it's errored jellies' track 11 done right, but I actually really liked that one, so just think of it maybe as more of the same. It's a nice loop of a children's song for 9 minutes straight, but there's a few versions of it that actually layer in and out and phase in and out over each other and it creates this beautiful atmosphere out of something extremely simplistic. Track 6 feels like an extension of track 3 in a way. Continues that subtlety and what sounds like manipulation of tape hiss and the like. Silence and small glitches. But throughout this track, there's a radio sample with a low pass filter that occasionally comes up (a lot like 1 Baked Hand). There's also this weird high pitched southern guy that keeps having a few random samples. It's a very strange track, but it's the other one that I always remember the most from this album. Ooh, and then the sample of the southern guy comes and it's actually a full stand up joke thing. Then you find out where the title of the track comes from! Sorta vulgar but whatever, it is kinda funny. After that sample is over, the best part of the track comes up. This is actually one of my favorite id m theft able moments ever, the part where it's this super weird children's song phasing in and out to the point of unintelligibly although I feel like one of them's saying "fancy treat" or something. It's really amazing though. A lot of background stuff there too. I never realized Skot was actually laughing in the background through this whole segment. Also there's a pretty subtle radio sample too, along with some extremely harsh high frequency buzzes. Then it all cuts out, and it's back to the radio samples from earlier along with a police report, and that's it, that's the track. Amazing track. Oh, and the next track is also extremely memorable. Probably the closest id m theft able ever gets to making a full on rock song? It's strange, similar to Pond Eyes in some ways, but a lot different sounding too. It's this drum loop along with some strange atmosphere generated from a weirdly layered loop of melodic percussion, and Skot just makes up a song on top of it. It's an interesting song, I quite like it. Throughout the track, just like Pond Eyes, there's also quite a bit of noise over the whole thing. Oh and it ends with the noise droning on this harsh buzz with everything else cutting out, then a strange song on a record player with speeding and slowing RPM, and Skot says a few more lines of the song. I'm writing it extremely analytical, it would just be better to listen to that song, it's really good. Track 8's alright. More of an extention of the same quieter glitch noises. More wet sounds in this one. Yeah these last two tracks are really just alright, nothing too notable from either of them. This album has some really amazing parts, but I'm not fully sure if it's worth the whole of it, you know? Some amazing tracks, but some forgettable ones too. Will go very high up in the second tier .

n's On Fire

Total Run Time: 46:25

1. six inch valley - 21:19
2. I want to run away - 4:06
3. n's On Fire - 21:00

Oh, I also have this on CD! One of the ones that came in the new order. Don't remember if I already said that or not. It's Saturday, June 18th, 2022 and I'm currently in Glasgow. Had a nice day, chilling at the hotel listening to some id m theft able now (or in this case, i'd m thfft able). I don't remember this one being that good although I don't think I've ever listened to it in full either. Pretty sure it's three tracks of solid mouth noises, but we'll see. Yeah the first track's that. I mean, the mouth noises can be cool for a little while, but sometimes they're just wet and gross and I don't like them. Sometimes they're just hard to listen to. Holy shit we're only 7 minutes in it has felt a lot longer let me tell you. It's actually sorta cool when he starts interspersing the word "no" in between the noise about halfway through (how is this only halfway through). OOOH I WAS WRONG, SECOND TRACK ISN'T MOUTH NOISES! It's record skipping, but it actually ends up sounding super cool, especially with the strange noises the skipping ends up creating in an oddly rhythmic fashion. Not sure how to fully describe it, but this track is very much worth listening to on its own. Skot sings over it too! Ah so, third track is more of the mouth noises. Still wet and gross ones too. Pretty much equally hard to listen to. Yeah I don't like this one, even if there's a good track in the middle, 90% of this album is very hard to get through. I want to know why it was made.

Star Guts

Total Run Time: 50:28

1. Star Gusts - 4:48
2. Sun Frictions - 5:50
3. You'll See - 3:38
4. Feminine Hygiene Aisle Rainbow - 6:14
5. Hot Star Splayed and Cooling - 7:21
6. a W is jus' 2 V's to V W's with - 4:49
7. Menstrual Coax, What Rainbow Monthlies - 4:50
8. Not a Recording of Torture - 0:59
9. That Fence Out Behind the Windham Goodwill - 4:13
10. Moon Pulls - 7:46

Oh my gosh, sorry it's been so long since I last picked this stuff up. Right now, it's Sunday, August 7th, and it's just been a long time since I wanted to obsessively listen to something. Not even fully sure if I want to right now either, but I'm burning some CDs and a bit in the mood to be productive, so whatever. Another one I have the CD of! This comes in a jewel case, so not sure why it has such a long cover art on Bandcamp. Anyhow, this first track is quite minimal. A lot of cutting vocals and whatnot. At some point, I run out of words to describe these things. This album just sounds like a fairly standard id m theft able and I'd really just be repeating a lot of what I've already said if I took the effort to describe every track like I did on the other ones. Coming back to this listening project, I sorta start to understand why I took a leave in the first place. The thing about obsessively listening to one thing for so long is that eventually you're going to get very tired of that one thing. Now I love when id m theft able does something particularly interesting, but I'm getting tired of all these releases that sound like the others. Maybe it would be different if I only heard one every few months (like how they were released), I don't know, maybe it's just that these listening marathons are catered towards a testament to monumentality rather than actual critical commentary. That being said, track 3 is pretty interesting, I'm quite liking whatever timestretched construction drone is in the background, it's crazy. 4th track is mouth noises. It's annoying. I mean like, what else do you want me to say about this album? What tier would this thing even go in? Like, I have to respect the artistry here, but I can't tell if it's just not that good of an album or if I'm just getting so bored with this sound. I mean, it's just fairly generic for id m's style. Track 5's nice in a chaotic way. That's about all I have to say, I think I'm done with my super in-depth analyses of these things. Maybe it's just this album being boring, I'm not too sure. I know there's a lot of other gold by this man out there, so we'll get to that hopefully soon. I kinda forgot where I was on this list. It's been a few months since I was here last so. The next couple are fairly short anyhow, plus a couple I haven't ever listened to. Excited to actually hear what Kissable sounds like. I like how the last track ends with that repetitive beeping.

Slide Over et c.

Total Run Time: 10:26

1. Bunny's Babies - 2:21
2. Galaxyng Smatters - 2:01
3. Slide Over - 0:18
4. ahya - 0:41
5. Needle Through The Red 2 - 1:04
6. English Muff - 4:01

Hey, a 2 in one today! Mostly just doing this cause this one's short. I wanna get to work on a Nanocyborg Uberholocaust video essay I'm planning. But every time I go to write it I just don't get any work done on it at all. I don't know man, I want to do video essays, they're just so hard. We'll see how it goes though. I have a pretty clear vision of what I want out of it, just not completely sure how to execute it. I'll be doing it in iMovie though, so I'm gonna have to come up with some pretty creative workarounds to actually make it look not bad. Maybe Star Guts was just especially boring and I was just feeling especially ranty, because I'm quite liking this one. Opening track is some nice loud vocal chops, second is some really nice orchestral CD skipping (some of my favorite from him actually). I know this is more ranty, but I just feel like making these more ranty than analytical would be more entertaining, a bit like I did in the earlier days of the RINGEX PLASTER reviews. Track 3's fun and short. Track 4's a nice drone made out of multiple layers of CD skipping and sounds like it's coming from similar sounds as the second track of Smidge Beats. Just a possibility, I'm not sure at all. Track 6 is really good, one of the most interesting things I've ever heard come out of Skot. Or at least one of the most different from everything else he's created. It's a lot of timestretched drones, skips, and porn samples, but it's done in a way which feels haunting and out of place. In a good way though. Especially those insane noise reduced sounds at the end? Strange This EP's just surprisingly amazing. Oh, also strange find of my own. I found this thing on Soulseek which is the Bunny's Babies track and a half-length version of English Muff. I asked id m about this, and it's a fake release? But the strangest thing is the album art is a really old collage of his that he doesn't know how it got out there, and the half-length version of English Muff (titled "English Muff (Reduced)") was made for a floppy disk label that ultimately rejected his submission, so he also has no clue how that got anywhere.