Purple acid reign: lotta punk in this metal sayeth Mr Chrome. Battery works.

youtu.be/wvDSl4WB-Q4

Trash Economics is the Hawaiian Supertramp critique of late stage capitalism you didn’t know was waiting in your inbox robot. Cold comfort from Baltimore, a celebration of beauty and fugue states. John Maus wishes he had dropped out and made this record. A man amongst machines throwing hands up so you can tap your toes in the cubicle snowflake.

Before Emeralds or Growing took Frippertronics for a drive demonstrating ambient drones and long tones could carry the weight and power of shoe gaze and on its own modern classical avant-garde terms, its beauty as well; these experiments were taking shape in a loft in South Baltimore. Out of intellectual rigor and youthful exuberance, out of a broken city, out of a dead time at the turn of the millennium, come these post cards to classical beauty wrapped in translucent fabric, addressed to Steve Reichs heirs from those of Henry Flynt, tapping into the collective consciousness that would produce High Zero, and casting it in a context so rarefied as to raise speculation regarding its one of a kindness. In that, it is an incredibly generous gift to be savored like free food or a moment of silence in a crumbling utopia.

Mature meditations on the role of the right hand in guitar as trance inducing improvisational sounding board at one with room and microphone, battling antiquated drum machine interference for mastery of time and space, the intrusions of memory and architecture transcended in a zen like focus that makes counting irrelevant with numbers and letters painted everywhere, the algebra of its makers construction serves as a map to his obsession with cusp states maintenance, the waking dream contained and controlled, its wildness poking out like flashes of filament, it’s temporal nature acknowledged and emphasized betrayed and undermined in tandem every other twist in the track. Buy the cassette. It’s beautiful.