I've written most of the other album ramblings after having a fairly extensive time to let them sink in, but I thought it would be more interesting to write about this one while it's still pretty fresh to me.

The intro noise gives me an idea that this is gonna be a bit different, and Fish Bowl Man is definately that. Beatnik poetry? The main riff is a revisit to PoundHound's Supersalad, but this goes in new directions, that's for sure.

Julia immediately made me think of the song Kryptonite by Three Doors Down, which I dig a lot, with the "...your Superman" line. The bridge is in 3/4 and that heavy riff is 7/8 with a triplet feel, making it very interesting.

I love the bass tone in She's Gone Away, especially the solo section and how they bring it down nice and quiet. The verse vocal melody reminds me of Had To Move and Her Palace from Naomi's Solar Pumpkin:

"...I had to move"
"...She's all alone"
"...She's gone away"

Is Ty's vocal sung twice, or is that a delay in Marshmallow Field? Okay, at this point I've gotta ask, what's with the German and Japanese stuff between songs? I'm hopelessly mono-lingual, so email any translations if you can enlighten me. I love this solo the best on the album at this point.

I'm not sure what I think of When You're Scared at this point, so this is where I'll mention how much I dig the mix of this album. The vocal parts are not thick layers, instead having a very live feel to them, and are panned slightly off center of each other, making each distinct. Hmmm... two songs in a row with two solos with different tones. What's with the laugh in the third verse? Between it and the psychadelic guitar sounds, this kinda feels like a nightmare.

Charlie Sheen is an unusually upbeat and bright vibe compared to the rest of the album. But what does it have to do with Charlie Sheen? This review has a lot of question marks!

Okay, back to the weirdness! Smudge is a trip! I think Mr. Wilson better fucking move! This is really a dissonent guitar riff, and the bass line is high and pretty different, too.

Short and sweet Bitter Sweet is oddly brief.

All the vocal interplay is really cool on Move Me, and Part Two really brings back those great extended jams of GGTN and FHL!

I'm starting to notice subtle references to older albums buried in here: I'm lost on the German, Fish Bowl (Dog) Man, Out of the planet and into the silence, Mr. Wilson/Evil/Bulbous, the NSP and Poundhound reused riffs I've already mentioned, and more if I keep digging. Is this all in my head? Or is something going over my head?

I'm really loving this album, but where it will fit into my overall view of the band will take quite a while to assess, since this is such a different departure. I'm used to them experimenting, so this isn't a surprise, but a joy. I've got a feeling there's a lot buried in this album that I still need to dig up, meaning it will provide years of enjoyment.

Next: Pineappleskunk -- Back: Tape Head
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