Recorded in South Bristol Maine in the great storm of '15. The one that took Boston of the grid for three weeks. All the day long and all the night did it storm. From 7 above to 20 below and 40 knots sideways she blew into the No Swett shop. The winds howled up the Scotty and the beams groaned as the microphones crashed their gates. Frozen beards and blown engines. Cabin fever and a hi-fi. Staring at the sea steam out frosted panes. Firearms and boredom. CNN. Back to the tracking. Back to the shoveling. Back to the river monster's midnight stealth run out of Bath. Baby Ruth and J. Jeremiah shepherding. Flags at half-mast.

For a more literal description of this album -

Tons of guitar on this album. Probably too much. Lots of whammy bar as well. Which really exacerbates the issue. Zachary Mann Brown played everything on this joint, and mixed it himself. Which is exactly why there are too many guitars. On Kawasaki, an actual toy Kawasaki guitar is played. Very kitschy. On other songs there are Strats and Teles and Les Paul electrics, and a parlor, and a12 string and a lap steel and just all kinds of excessive guitariness. Some tracks are even doubled! There is also electric bass guitar and electronic and acoustic drums. And unsurprisingly the same Yamaha keyboard sounds ZMB seems to be stuck on for several albums. Most of the slow songs have an old noisy italian air organ droning on through them as well.

Guitar solos devolve into atonal noise and broken strings. On ballads. Cool right?

The vocals are haphazard and conversational. Lyrical themes revolve around guilt, isolation, regret, apathy and resignation. Then the final track attempts some kind of holistic new age reconciliation. Major vibes!