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.

Releaseless

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.