Allow me to pontificate.
In the last four years, I have written and published more than 500 music reviews. Roughly 50 of those reviews were for instrumental albums, roughly 35 of which were classical music albums. The majority of those 35, but not all, were film and television scores. I am soon to review nine albums by the film and television composer, Michael Giacchino. In preparation, mainly to check my track titles and running times (yeah, I do that for these), I visited a reading mainstay of mine, filmtracks.com. Filmtracks is solely operated and maintained by Christian Clemmensen. His reviews are at times laborious, often featuring paragraphs longer than my average reviews, and sentences that make my average sentences not look like run-ons. With that said, Clemmensen is a very talented man, an excellent writer, a clear communicator (sometimes "clear communicator" and "excellent writer" are one in the same), and he has actual experience in the field and study of classical composition. One time I played bass in a punk rock band.
Actually, I'm selling myself short. I am classically trained on piano, I can play both the bass guitar and drums well, I have experience with electronic sound manipulation, I can make people think that I can play the guitar, and I have an actual major in creative writing versus Clemmensen's puny English minor (his major is in Organizational Communication...my minors are in Film and History. 3>2!...2>1.5?). Even though I am equally qualified to review classical music on paper, when I look at the sheer exhaustive volume of Clemmensen's reviews, and the fact that despite their tome-like word count, not one is wasted, I feel quite intimidated by his body of work. I mean, this guy was one of my inspirations to start reviewing music in the first place.
Nothing like a little motivation.
I'm coming for you, Clemmensen!
Your chin can't save you now!
As I really want to do right by these admittedly niche reviews, I am guessing my updates for the next month will be sporadic. Also, finals.
Friday, April 24, 2015
Wednesday, April 22, 2015
I have to admit, this is one of my favorite pieces I've done. I'm not saying it's one of the best, but I had more fun writing it, and I'm having more fun reading it and looking at it than just about anything I've published on the Internet. Writing these video game reviews has been so freeing, perhaps because it's just something new for me, or perhaps because of the loose, casual format in which I have chosen to write them. Whatever the case, I am hoping I can transfer that passion into my Every Album I Own review series, as I must admit, my enthusiasm in writing those has flagged at times this year. Then again, considering I am smack in the middle of them, and almost four years in, fatigue is only natural. I'm sure that spark will come back soon. It only takes the right note rubbing up against my ear.
That sounded improper.
Wii U Game Reviews: Metroid Prime 3: Corruption (Review): ZombiU Released on the Wii, August 27, 2007, by Nintendo Retail: $49.99 Wii U Game Reviews Score: 9.9/10 I've been a Nintendo f...
That sounded improper.
Wii U Game Reviews: Metroid Prime 3: Corruption (Review): ZombiU Released on the Wii, August 27, 2007, by Nintendo Retail: $49.99 Wii U Game Reviews Score: 9.9/10 I've been a Nintendo f...
Monday, April 20, 2015
It's a dance pop album. I hate that kind of crap. A few seconds in, and it's a repetitive beat under repetitive, monotone rap-speaking. Then the song gains momentum. Then the beat blows up and all these weird samples come in. Then, all of a sudden, I'm having fun. How is this happening? Same thing happens with the next two songs, Asian drums booming, strange samples abounding, though I feel I'm soon to grow tired of this sound. But wait, track four is some kind of Indian-subcontinental disco-song? Where did this come from? I hate disco, but this song is actually interesting and fun. That's okay, because no way can she keep this up. But wait, track five is serious business. The hook is somber, but somehow the song is still enjoyable. Then it's "Mango Pickle Down River," and it sounds like its title. So far, Kala has displayed more sonic texture and color than I thought anything in this genre could be capable...of displaying. Then "20 Dollar" hits. If you're gonna sample the Pixies' "Where Is My Mind," you better do it right, and I'm not sure anyone could do it better and more mind-bendingly than this. And then, what?
Track eight, "World Town," is kind of crazy, but it's immediately followed by "The Turn." "The Turn" is all melancholy, and I'm actually feeling, like, emotions, man. Then "XR2" comes on, and it might be a misfire, but it's immediately followed by the now 00's classic, "Paper Planes." What a contagious song, but I don't feel like I just paid a Las Vegas woman $500 for an hour of her time when it's over. Then "Come Around" ends the album, and I want to listen to the whole thing again. I haven't heard anything quite like M.I.A.'s Kala, before or since. Is there a more international sounding album performed in English?
Sometimes, it's worthwhile to be surprised.
1. Bamboo Banga 4:58
2. Bird Flu 3:24
3. Boyz 3:27
4. Jimmy" 3:29
5. Hussel (featuring Afrikan Boy) 4:25
6. Mango Pickle Down River (with The Wilcannia Mob) 3:53
7. 20 Dollar 4:34
8. World Town 3:52
9. The Turn 3:52
10. XR2 4:20
11. Paper Planes 3:24
12. Come Around (featuring Timbaland) 3:53
Wednesday, April 15, 2015
Here I am on the last one, and it doesn't even feel like I've written a single review. I must hold a really strange place in my mind and heart for mewithoutYou.
Ten Stories is mewithoutYou's fifth album. Album number four, It's All Crazy! It's All False! It's All a Dream! It's Alright, took the band from super-buzzed upon, about to explode, to "hey, what happened to mewithoutYou?" The band's remaining fans, outside of the ten who actually liked It's All Crazy..., had one simple demand for the next album: please don't do that again! People are generally more demanding than that, though, so it was actually more like: please don't do that again, and also, remake either your first or second album, please! mewithoutYou do an admirable job on Ten Stories of "don't do that again," but no self-respecting band could have abided by that second request. Musically, I don't think this (continuing to forge a new sound) hurts the band. Ten Stories explores a gentler, more ornate sound than any of the band's previous albums. Songs like "East Enders Wives" and "Aubergine" are hypnotic in their quiet beauty. However, Ten Stories is not afraid to get its hands dirty...
SHIT! I hate this review! I hate all these mewithoutYou reviews! I've done a horrible job!!! These are the worst! Generally, when I have to resort to non-ironic profanity, my reviewing skill has hit rock bottom! Dammit, mewithoutYou, you've triggered an existential crisis!
Here's the lowdown:
Ten Stories sounds a bit more sophisticated than mewithoutYou's previous work. I never would have thought the band were capable of sounding as pretty as they do on Ten Stories' softer songs--but overall, Ten Stories isn't a soft album. The guitars are thankfully distorted again throughout. No more It's All Crazy's acoustic nonsense. mewithoutYou have wisely realized that they are not an acoustic band. Ten Stories isn't a heavy album, though. The rock here is a more whimsical than aggressive. On, say, "Cardiff Giant," Michael Weiss sounds like he is playing his guitar while riding a Ferris wheel. His brother, vocalist, Aaron, obliges with an equally whimsical chorus, "I wonder if I've already died." Weiss' vocal performance on Ten Stories might be his best yet, as he effortlessly switches from spoken-word, to singing, to his trademark-shouted delivery. Unfortunately, his lyrics don't quite meet the same standard. They
NO, THE NICSPERIMENT! YOU'RE WRONG!!!
What? Who said that?
IT IS I! THE NICSPERIMENT FROM THE FUTURE!!!
How far in the future? Wait, what?
THAT'S RIGHT! THE FUTURE! ONE WEEK INTO THE FUTURE!!!
But...how? Why have you come here?!
TO TELL YOU, THE NICSPERIMENT FROM ONE WEEK AGO. TO TELL YOU...YOU ARE WRONG!!!
Wrong? About what? I can't even remember what I was saying!
EXACTLY! YOUR FEELINGS ARE TEMPORAL! JUST AS MEWITHOUTYOU'S SOUND CONTINUES TO EVOLVE, SO DO YOUR FEELINGS ABOUT THEIR MUSIC.
But...what do you mean?
I MEAN, YOU ARE MAKING JUDGEMENT'S ON WEISS' LYRICS, BUT NEGLECTING TO GO BACK AND READ THE CD BOOKLET. IF YOU DO, YOU'LL NOT ONLY SEE HOW INTRICATELY WRITTEN THEY ARE, BUT ALSO WHAT CHARACTERS IN WEISS' NARRATIVE ARE SPEAKING AT ANY GIVEN TIME.
So that helps make sense of this thing?
YES! YOU KNEW THIS THREE YEARS AGO, BUT YOU'VE FORGOTTEN. A LOT HAS HAPPENED TO YOU SINCE THEN.
Has a lot happened to me in the coming week?
NOT REALLY. YOU WATCH EXCALIBUR FOR THE FIRST TIME IN NEARLY SIXTEEN YEARS. IT IS STILL REALLY BADASS.
Yeah, that movie is awesome!
YEAH IT IS. IT IS SO AWESOME. BUT BACK TO MEWITHOUT YOU. YOU'LL ALSO DISCOVER THAT LISTENERS HAVE SPENT THE LAST THREE YEARS BREAKING DOWN WEISS' TEN STORIES LYRICS AND DECIPHERING THEIR MEANINGS. THE THOUGHTS ON GENIUS.COM, FOR EXAMPLE, ARE QUITE ILLUMINATING.
Have they made sense of any of it?
YES. BUT THEY ARE SO DEEP AND WELL-CONSIDERED, NO ONE MAY EVER CATCH EVERY REFERENCE HE MAKES, AND DOUBLE MEANING HIS LINES CONTAIN. HOWEVER, WITH A LITTLE THOUGHT, THE NARRATIVE BECOMES CLEAR. TEN STORIES IS THE TALE OF A TRAIN FULL OF CIRCUS ANIMALS. THE TRAIN IS CRASHED BY ONE OF THE ANIMALS, FREEING THE OTHERS, AND THEY ESCAPE AND HAVE VARIOUS ADVENTURES. WEISS USES THE ANIMALS' ADVENTURES TO PUZZLE OUT THE MEANING OF EXISTENCE, WORKING IN ALLEGORY AND METAPHOR. ONCE YOU GET INTO IT, THE SONGS ACTUALLY BECOME VERY EMOTIONAL. A SACRIFICE BY ONE OF THE ANIMALS IN THE PENULTIMATE TRACK IS PARTICULARLY HEARTBREAKING. BUT I'VE GONE ON TOO LONG. JUST GO LISTEN TO IT AGAIN WHILE READING THE LYRICS. BE AS DILIGENT AND STEADFAST AS PERCIVAL.
Dude, Percival was the best knight of the round table.
YEAH HE WAS.
Woah, that was weird. But me from a week in the future is right. Ten Stories contains Weiss' best work. While I can't quite say this is mewithoutYou's best album to date, mainly due to Catch for Us the Foxes and Brother, Sister connecting so strongly, Ten Stories rewards dedicated listens more than all the rest of the bands work. It's a great album, and when the lyrics hit on all cylinders together with the music, which happens during the vast majority of Ten Stories' runtime, the experience is sublime. I'll end with a great example for the previous sentence, "Fox's Dream of the Log Flume," one of Ten Stories' more intense tracks. When the lead guitar line comes in, you know the band mean business, but they are spurred by Aaron's opening verse:
Provisionally 'I,' practically alive/
Mistook signs for signified/
And so since I’ve often tried/
To run them off a cliff like Gadarene swine...
Finally, Ten Stories' numerous female guest vocalists certainly do not hurt.
2012 Pine Street
1. February, 1878 3:46
2. Grist for the Malady Mill 3:17
3. East Enders Wives (featuring Aimee Wilson) 2:52
4. Cardiff Giant 3:43
5. Elephant in the Dock (featuring Amy Carrigan) 3:51
6. Aubergine (featuring Amy Carrigan) 3:14
7. Fox's Dream of the Log Flume (featuring Hayley Williams of Paramore) 3:44
8. Nine Stories 4:46
9. Fiji Mermaid 3:34
10. Bear's Vision of St. Agnes (featuring Aimee Wilson) 4:59
11. All Circles (featuring Hayley Williams of Paramore and Daniel Smith of Danielson) 2:44
I recently read a very interesting interview with mewithoutYou guitarist, Michael Weiss. Therein, Weiss states that the band have a "core sound of competency," and that mewithoutYou lived more fully in that sound on their second and third albums, Catch for Us the Foxes, and Brother, Sister, respectively. Their fourth album, It's All Crazy..., does not play to mewithoutYou's core sound of competency.
I get wanting to branch out. mewithoutYou's dalliances with folk music on It's All Crazy... speak to a band who doesn't want to be placed in a box. They also speak to a band who most definitely should not be recording folk music (unless it's only a dabble). The songs here just aren't very interesting. And...HEY!!! I'VE JUST BEEN HIT WITH A TRACK-BY-TRACK BULLET!
1. "Every Thought a Thought of You" -- pleasant, but it just sort of happens.
2. "The Fox, the Crow and the Cookie" --always tricks me into thinking I'll like the album this time around because it's one of the few songs on It's All Crazy... where the band really put it all together. Enjoyable and insightful lyrics on human nature, great arrangement, interesting instrumentation (love the horns). Unfortunately, though, this song is an exception and not the rule.
3. "The Angel of Death Came to David's Room" -- it's not bad, it happens, and then it's over.
4. "Goodbye, I!" -- barely registers. Aaron's lyrics here, and in many places on It's All Crazy..., are too dense and opaque.
5. "A Stick, a Carrot & String" - I've always thought of It's All Crazy... as some sort of strange Islamic folk album, but this song is a simple, lovely telling of the gospel, with an arrangement that is quiet, yet moving and interesting. A definite highlight.
6. "Bullet to Binary (Pt. Two)" -- pt. one is so much more memorable than this. It's just so weird, yet all the acoustic strumming and the odd mid-song breakdown somehow don't register.
7. "Timothy Hay" --it's almost good, yet it's also so hippy-dippy it's not quite there. I don't know. The "what a beautiful God there must be" outro should be so much more powerful.
8. "Fig with a Bellyache" -- here it is, the worst song mewithoutYou have recorded up until this point (April of 2015). It's almost antagonistic to the listener, with the obnoxious background vocals, Aaron's stacatto cadence, and lyrics that are supposed to champion purity, but instead just turn sex into some unnatural, disgusting thing. An awful song.
9. "Cattail Down" -- if this song was just a little more aggressive, it could have found its way onto Brother, Sister. Also, if it was just a little more memorable, though the outro does stick in one's head.
10. "The King Beetle on a Coconut Estate" -- an album highlight, along with "The Fox, the Crow and the Cookie" and "A Stick, a Carrot & String." Strong build, and the horns and strings really work well here. Aaron's telling of an old Sufi story is pretty thrilling.
11. "Allah, Allah, Allah" -- this album is so disjointed, closing it out is a difficult task. "Allah, Allah, Allah" is pretty good, but doesn't quite feel earned after all the silliness that has preceded it. Still, the closing lines "If you want to sing forgiveness songs, come down and join our band, and we'll cut you like a sword and sing forgiveness songs" is satisfyingly apt, and oddly satisfying.
And that's it. I don't want to talk about It's All Crazy... anymore, or listen to it ever again. The only reason it gets a point above five is that there are more really good songs (3), than really awful ones (1), though the rest is close to below even average. A six it is, and go away.
2009 Tooth & Nail Records
1. Every Thought a Thought of You 3:31
2. The Fox, the Crow and the Cookie 3:31
3. The Angel of Death Came to David's Room 3:54
4. Goodbye, I! 3:50
5. A Stick, a Carrot & String 3:06
6. Bullet to Binary (Pt. Two) 5:12
7. Timothy Hay 3:37
8. Fig with a Bellyache 3:31
9. Cattail Down 3:47
10. The King Beetle on a Coconut Estate 6:01
11. Allah, Allah, Allah 4:55
Tuesday, April 14, 2015
Monday, April 13, 2015
Well, here's a surprise. In the fall of 2006, I was in an interesting place. I was about to get married, freaking out heavily. Meanwhile, all those freshman who had come in at LSU in fall of 2004 (my last semester), all those kids who had latched on to Underoath's They're Only Chasing Safety, were moving on to something else. Turns out the new Underoath album for 2006 was too damn heavy for them, and they didn't like heavy anymore, anyway. Time for them to find a new band. Time for them to hop on the mewithoutYou bandwagon.
In reality, this migration began before 2006. It began on mewithoutYou's Catch for Us the Foxes tour, when suddenly I was mashed up against these young punks (and I don't mean punk-rockers!), who acted like they were too cool to remember your name. So anyway, by the fall of 2006, mewithoutYou was poised to breakout, or at least breakout as much as a band of this nature can. So by the fall of 2006, mewithoutYou no longer felt like my band.
To make matters worse, this video popped up on Youtube, mewithoutYou playing at Cornerstone, where I had seen them four years before they were big, when they were new, and they were exciting, and all the kids in this 2006 crowd, watching the band's set de-evolve into some hippy-dippy group-hugging hippy dance, were still in high school, listening to N'Sync.
My future (and now nearly for nine years) wife thought the video was awesome and loved Brother, Sister right when it was released, but let's face it, she's five years younger than me, which essentially makes her a generational stranger. She had an e-mail account in like elementary school.
Well, Brother, Sister came out on September 26, 2006, and my fiancee and I picked it up from FYE or Best Buy or some damn place and listened to it in the car and she loved it and I thought it was okay, not as good as Catch for Us the Foxes, and it didn't have all the lovely little outros that all of Catch for Us the Foxes did.
End of story.
But then, almost nine years later, I listened to every mewithoutYou album chronologically (multiple times) for this review series, and they were all pretty good, except for the fourth one, and Catch for Us the Foxes was really, really good, and I already gave that one a ten, but how has this happened(?), Brother, Sister is even better. Turns out, removed from a new apartment with all my cool stuff packed out of sight and girl clothes everywhere, and me not realizing being in a relationship can be as fun as being single, and all those damned hipsters who only liked mewithoutYou for the three months after Brother, Sister came out, Brother, Sister is the greatest achievement in mewithoutYou's five album career.
I listened to Brother. Sister on the way to work, and I was excited by every track, even the stupid "Spider" interludes, and emotional at the end...and singing along at the end with my eyes closed and tearing up and not existing. Everything about Aaron Weiss's journey from being a damn mess, to giving up his mess to God and simply no longer being, hit all the write notes, and his band's experiments with straight-up-rock, dub, punk and ...folk all work and work and work. And dammit, now I'm listening to that video above and the damn blender at Starbucks is in exact pitch and key with "In a Sweater Poorly Knit" and I give up, God, take it.
This review brought to you by angry old man enterprises, at firstname.lastname@example.org
* * *
Hey, now that he's done, I'd like to make some comments, as well. Well, really only one, as that old dude above somehow touched upon almost everything in his rambling, anti-diabtribe. What I'd like to say is, on top of how awesome this album flows, creates tension, releases it, is awesome, I really dig its sonic textures. I like how the darker moments, like the trumpet hits before the second verse in "C-Minor," remind me of a scary old art-deco office at night, and the harp parts, for example, the ones at the end of the album, remind me of fairy tales when I was a kid, and you could look out the window at the pale, welcoming moon, and climb a tree and be there, and watch the cow soar over your head.
2006 Tooth & Nail Records
1. Messes of Men 3:52
2. The Dryness and the Rain (guest vocals by Jeremy Enigk) 2:57
3. Wolf Am I! (and Shadow) 2:36
4. Yellow Spider 1:10
5. A Glass Can Only Spill What It Contains 3:45
6. Nice and Blue (Pt. Two) 3:43
7. The Sun and the Moon 5:15
8. Orange Spider 1:10
9. C-Minor 3:21
10. In a Market Dimly Lit 4:27
11. O, Porcupine (Guest vocals by Jeremy Enigk) 4:31
12. Brownish Spider (featuring guest harpist Timbre) 1:19
13. In a Sweater Poorly Knit (featuring guest harpist Timbre) 5:26
Friday, April 10, 2015
Catch for Us the Foxes is mewithoutYou's second album. It follows their debut (logically), [A→B] Life, which is a spastic rock record with plenty of seemingly random tempo and structural changes, and angst-filled, yelled vocals. That album is a blast. Their second album is something else entirely. In 2004 (more than a decade ago?!), in my end of the year list, I said of my ninth favorite album of that year:
Haunting, heart-breaking, tear-inducing. Aaron Weiss's spoken/shouted word delivery has only grown more emotional, while his band has evolved by combining their spasmodic post-punk with beautiful early 80s art-rock. Imagine their first album combined with the textures from the first five tracks of U2's "War" album, or simply imagine a dying rocky field in the autumn, oak's dropping fading blue and red leaves, while a voice echoing somewhere over the dim misty hills shouts about the decaying nature of the world and mankind, and the absense and return of Jesus Christ. A tough listen at times, but wow, wow, wow. The definite standout here is "Carousels" a song so tough to bear, a box of tissues is neccessary. Highly recommended, but you may not feel good when it's over.
After my first listen for this review, I wondered what the big deal was. I mean, my 2004 top albums list includes some works that on reflection, and sometimes for this "Every Album I Own Series," I have found to not be so great. Interpol's Antics? Like a shadow someone shined a light on. U2's How to Dismantle An Atomic Bomb? A candidate for that band's worst album. I think when I finish this series, I'm going to post a "My Favorite Album's of the Year...Many Years Later" entry, just to see how much my opinion has shifted. But back to mewithoutYou...
After that first re-listen it was looking like Catch for Us the Foxes would be a likely casualty. Definitely not going to appear on any revised list...then I got depressed this morning for no reason...so I threw on Catch for Us the Foxes...
The reason Catch for Us the Foxes is so good is nearly intangible. First, the instrumentation is lovely. Who knew this band had these kind of performances in them after the first album? The guitars are so pretty, but still a bit edgy. Yeah, like the Edge. My old U2 comparison is still apt. I mean, on [A→B] Life, mewtithoutYou's Aaron Weiss straight up quotes "40," the final track from U2's War. War had to have been an influence on Catch for Us the Foxes' sound. Here's 1983 U2 side by side with 2004 mewithoutYou. Bono's A new heart is what I need/oh God, make it bleed! is certainly akin to Aaron's If only I could be the servant of all/no lower place to fall! Tell me these two bands couldn't have toured together.
Actually, don't tell me, I'm not interested in your objections!
The recording of Catch for Us the Foxes is also a big factor toward its success. The drums and bass sound like wood. Not wooden, as in stiff, but they sound like such an organic thing, again supporting my original proposition of trees shedding blue and red leaves (the leaves being impressionistic, free-floating guitar notes). The music in these songs, while a bit melancholy, is magical. I love how most of the first seven tracks have an extended, reflective instrumental outro. I love how the opening strains of track eight, "Paper Hanger," show that the end is coming, and the band mean business. I love how the next track, "My Exit, Unfair," is like one last look back, and then the final three tracks are a dive into deepest emotion. But that's the music. What about mewithouYou's simultaneous Ace In the Hole and Joker, vocalist, Aaron Weiss?
On the band's debut, Weiss' emotions were extreme, as if the relationship he was describing was wrenching not just his world, but THE WORLD apart. So what about here on Catch for Us the Foxes? For that we'll have to go to a special segment we here at The Nicsperiment like to call:
THE RANDOM CONFESSIONS OF AARON WEISS: CATCH FOR US THE FOXES EDITION:
"And I haven't even thought of killing myself in almost five months"--Aaron Weiss, taken from the song "Tie Me Up! Untie Me!," from Catch for Us the Foxes
Oh no, looks like Weiss is dealing with some heavy emotions again, and this time it's not a girl, though maybe that's part of it. This time it's the entire existential crisis of being, wanting salvation, running from salvation. Well, 2004 Aaron Weiss, get off my lawn, and go get a job!
Just kidding, 2004 Aaron Weiss! Come inside and have some tea. I hope you like it cold and sweet. I know you Yankees like it hot.
The reason 2004 Aaron Weiss is welcome to my house to drink cold sweet tea (hot tea is vomit), is that 2004 Aaron Weiss knows what it feels like to be depressed, just like 2004 The Nicsperiment and 2015 The Nicsperiment know what it feels like to be depressed. If you listen to Catch for Us the Foxes with even a small amount of sadness in your heart, you will most likely have the ability to connect to Aaron Weiss' lyrical imagery. The "Foxes" here are the little ones from the Song of Solomon "that ruin the vineyards, our vineyards that are in bloom." The ones that ruin everything, even though they are so tiny, and (from "The Soviet") "...when it's quiet, Their tails brushing over your eyelids...""And whatever's charming disappears while all things lovely only hurt my head," just like this morning when I was walking out the door in a good mood, but then I noticed that damned TV wire hanging weird, and it looked dangerous, and I didn't like it, so I tried to straighten it, but it wouldn't go where I wanted it to, and then I realized I was going to be late, and dammit, dammit, dammit, dammit
2004 Tooth & Nail Records
1. Torches Together 3:47
2. January 1979 3:26
3. Tie Me Up! Untie Me! 3:41
4. Leaf 3:37
5. Disaster Tourism 2:58
6. Seven Sisters 3:48
7. The Soviet 3:03
8. Paper Hanger 4:12
9. My Exit, Unfair 3:52
10. Four Word Letter (Pt. Two) 4:22
11. Carousels 5:41
12. Son of a Widow 3:27