Sometimes, one writes an addicting riff that they can’t get out of their heads, but then is just not sure what to do with it for a long time. That’s true of “Sentimental,” which Tom first demoed in 2013 while living in Eugene. It spent time on the back burner until Zack was struck by the inspiration bug and wrote out the lyrics in 2019. Michael’s reaction at the top is genuine- it was the first time he’d heard the song in the awesome studio headphones at Rowan Studios. Highlights include a sick drum polyrhythm in the middle, and some good natured sniping at an overpriced alcohol distributor.

This song came about in sort of a mirror to “Sentimental.” In this case, Zack wrote the main hook of the song, and Tom loved it so much that he filled out the rest of the melody and lyrics. “Stellar” has a driving, marching pulse that invites some solid headbanging, and a mountainous climax into a unison fall before simmering into the last chorus. Enjoy! Highlights include secret guitar ghost notes in the last chorus, and those drum stops in the second verse.

This song came together around the same time that we finished “Sidewinder,” and features one of the most intricate bass passages of our entire repertoire. “Sauce” has a straight-ahead feel that was conceived of as “poppy anti-pop.” The title refers to a restaurant enforcing a rule about the number of condiment packages a given patron could take, but it was reinterpreted as being selective about what media and influence impacts one’s personality. It’s our “Sauce Policy.” Highlights include: playful chorus harmonies and dat bass line!

First appearing on the “singles” EP (back when we thought we’d have this thing published by 2018-2019, HA), “Archaeo” is one of our math-rock showpieces. The song very nearly made it onto our first EP, “Not Responsible for Loss, Damage, or Theft” in 2014, but wasn’t quite ready for release at the time. The title is a truncation of “Soul Archeology,” as a description of the lyrics after they were written. Highlights include the dizzying odd-meter intro, and the big 7/4 finish.

One of the last songs drafted before the great theft of 2015, “Ninja” quickly grew into a band and show favorite. The instrumentation brings to mind a fantasy narrative, leading to an all-out breakdown brawl. The song went by the working title “Ouija Bordeaux,” before Adam was struck with the inspiration bug and wrote the lyrics. Highlights include Michael pulling out all the stops on some powerful vocals and a monstrously heavy bridge section.

This song was drafted by Tom in Eugene just before returning from U of O with the working title “Crystalline,” but the lyrics didn’t come together until after Michael joined the band. Michael’s writing fit the tone of the piece brilliantly, encapsulating the delicate struggle of staying financially afloat in this day and age. The off-kilter 7/8 time signature plays with the ear and leaves the listener in free fall when the band pauses for the “pin-drop” choruses. The title comes from an 8-page series of song title and/or band name ideas written sometime between 2008-2009. Highlights include that sick bass solo and the emphatic off-beat hits in the prechorus.

This song came together while Zack and Tom were on a camping trip. Inspired by the natural surroundings and a trace of homesickness, Tom finished the melody and lyrics, but couldn’t settle on an ending. Many jam sessions later saw the end growing into a dedicated section all to itself, with Michael lending a haunting vocal edge to the outro. The musical reference to “Haiku” at the very end came about as a happy accident during a writing session. Highlights include some tight bass licks in the third verse, and some subtle time-trickery in the chorus

This song had one of the longest writing cycles on the album. The riff was first drafted in 2011-2012 alongside “404” and “Crow.” “Haiku” went through three drafts of lyrics before the version heard here, with only the chorus making it through each iteration. The title refers to the song’s verse time signature; a repeating 5/8, 7/8, 5/8. Highlights include a sizzling guitar solo and a back-and-forth chorus between Michael and Tom.

“Sidewinder” was based almost wholly off of the opening riff. Tom was experimenting with a phrase that featured a “roving” pair of triplets, in which each bar featured the triplets on a different beat. The bridge riff, however, was actually written back between 2008-2009 when Adam and Tom were first playing music together- predating “Slenderman” by about a year. The band plays an extended version of this song live. Highlights include: sneaky time signature changes throughout the verses, and a “countdown” in the outro.

The band’s longest recorded song to date, Corazon clocks in at just under 9 minutes. Don’t let the runtime daunt you, because it offers some of our catchiest lines and an absolutely over-the-top outro. Overall, the song plays like a breeze and invites many a re-listen to catch all of the surprises we have hidden throughout it. Highlights include: that insane high note from Michael, and a sneaky 7/8 section disguised as a previous phrase.

“RLE’s most difficult song,” surprisingly took the longest to record in studio. Never underestimate your short songs, folks! “Daedalus” was initially demoed by Tom around the same time as “Ninja Exit,” but its lyrics (besides the first two words) didn’t come about until a year or so later. Highlights include: a reference to Rush, and some tight bass fills in the post-chorus sections.