Boy, Juan Atkins leaving the band sure left a gap. I've yet to find "Empathy" anywhere so the difference is even more stark not having the album in between to compare against. Some of the elements are neat but most of the tracks go on for longer than they need to and at the end of the day this album does not come close to "Enter/Clear"

This is a really good "lock-in" album, the songs are long but have enough going on to keep things interesting. On a 2nd listen I can absolutely pinpoint the bits of Rüdiger Berghahn's distinct vocals that Steven Stapleton picked up in his own vocals.

As an overall album I think it's solid but the real gems are "Simple Headphone Mind" and the title track. Well worth a listen if you dig songs that sound like Steely Dan in a Benadryl nightmare.

I think "Giraffe" was probably the track I had the most interest in and it's the shortest offering, I wanted more of it.

Jesus Christ, there's so many lockers.

Ata Kak's return after all this time is another really fun listen. I just hope we don't have to wait another 31 years to hear more.

Vocals are a tad too same-y across songs but some of the tracks fuck so hard it's well worth overlooking.

I was so lost in the feeling that "Cold Winter Hour" gives me (what it must sound like to be a bowl gong) that I was jarred by the second track beginning. The rest of the album said fuck that bowl gong.

The rest of the album is an experience. I felt a sense of a distorted kind of nostalgia throughout the album, something akin to remembering falling asleep watching tv or in the backseat on a long drive. Really cool listen.

After a few spins of "Never Crossed My Mind" the song grew on me. I've also now listened to their first release which has given me a better understanding and appreciation for the sound the band is going for. I think having a catalog that almost requires multiple listens to fully appreciate is a wonderful way to grow an audience.

This album is the intersection of the Freak Scene's tepid foray into psych rock, "Psychedelic Psoul" and the weird and sometimes unpleasant side of Cromagnon's "Orgasm" experimentations. The only song that had any sticking power for me a day later is "The I.W.W. Song" and that's mostly the repetition.

Worth a spin if you really want to track the heritage of freak folk, but at the end of the day there are better albums out there.

I don't feel I can fairly give this a number rating because while I find it a solid album outside of the final track which I turned off partway through, I don't see myself coming back to any of the tracks. Clipse are just slightly out of the wheelhouse for me, I'm afraid.

I feel this will take a couple listens to really sink in and my rating may change at a later date. A wonderful glimpse into a mysterious life.

This album sounds like Alejandro Jodorowsky asked an ayahuasca choir to soundtrack a new Spaghetti Western film in the style of The Manson Family Jams, and yes, there is a scene in which Yoko Ono plays the role of "Woman Orgasming To Death Inside Giant Blender" as if you had to ask.

Jokes aside, this album has more highs than lows for me, some of the vocals are a bit too much, but I really dig this more than I did "A Mournful Kingdom of Sand"

"Go Down, Old Hannah" has been in many playlists of mine over the years so it was finally time I sat down and listened to the whole album. There is a flow to this album that is wonderfully hidden in the chaos.

Loses points because track 5 pissed me off and I had to skip it.

The 100 is almost entirely based on the opening track. The album is a very fun blend of the kind of folk you'd expect from a nun but when she starts playing with her synthesizer the album shines as a precursor to much weirder music to come.

Spending the entire first track thinking that it was the entire album may be 2nd only to the time I got really high and accidentally listened to Melon Collie and the Infinite Sadness for 6 hours. To my credit both times I was playing the albums while working on other things.

I found the album to be mostly alright overall, not something I see myself coming back to ever again though.

If you took Jacula, Jethro Tull, Vanilla Fudge, The Doors and Speed, Glue & Shinki and threw them into a blender with the mildest parts of "First Utterance" by Comus you'd get this album. It's truly a fascinating listen despite not matching the tone set by the cover of the album.

This felt like a bunch of ideas that ended up just kind of going nowhere. Every time I waited for the song to get into the part it had been building up to and nothing.

Aside from the small bit of vocals that kinda gnawed on my bone marrow a little bit this was a total vibe.

Each track felt like a conversation being only slightly drowned out by the band practicing in the garage. Very interesting approach.