 a fantastic show at AfterHours. Comprised of lead singer Cameron Winter, guitarist Em Green, drummer Max Bassin, bassist Dominic DiGesu, and touring member and keytar player Sam Revaz, the band played a full, relentless show. The set mainly featured songs off their 2023 releases “3D Country” and “4D Country,” plus one unreleased track, “Islands.” WRBB’s Bela Omoeva sat down with Geese before the show for a fun, funny, varied interview — check it out below!

Bela Omoeva: How does playing live shows and being able to experiment with your sound help develop the music?

We just get better at playing them after. Like, we always finish writing a record and then go on the road and play it. And I end up wishing that maybe I could go back and re-record some of the record because I'm just so much better at playing it after we just do it live. So yeah, I just used to, like, refine stuff after a while, and it's really interesting.

Compared to “Projector,” your first album, “3D Country” was such an expansion. It was so cool. Is maximalist a good word?

Yeah, I think I've heard of that word somewhere, yes.

Yeah, I think so. We just wanted to sort of do everything we wanted to, and not really edit it too much in terms of, like, narrowing it down to a sound. I think a sound just sort of generated naturally, from having fun and adding a bunch of stuff on top of everything.

Does the label [Partisan Records] ever have a problem with that?

Yeah, well, we're on a weird label. Because Partisan — like, certain indie labels will really let you do whatever you want, and then certain indies won't. But they’re still not like major labels. Major labels will just, like, take a sledgehammer to anything you make and their say is the end of the thing.

We have a good relationship. Partisan’s sort of in the middle of those two things. Like, there are definitely notes. But we sort of had to navigate that because we believed in the record — but also we had no leverage or anything. So we were trying to figure out what advice to take and what not to.

In terms of the internal creative process, do you ever worry about the line between being, you know, brilliant and experimental, versus being too indulgent? Is that ever a concern?

 We'd like to be both brilliant and experimental. We want to not overindulge. I feel like that's what we've always done — satisfy everybody.

 If it feels goofy, we also think it's really goofy. I don't know. We toe the line too much sometimes.

With the lyricism, it's cool how you guys kind of have this free association, almost. And with the vocal delivery, it's interesting that with your guys's music, you don't really do the talk-singing thing, which is trendy.

That was definitely a focus, was to try to not do that. For the modern slate of bands, I think a lot of the tendency is to just think about what was last, because the music just sounds cool or something. Or, like, genuinely nobody in the band can sing, so that's really their only option. But I don't know. We're lucky that we don't have to do that, because if it was any one of us singing, it would be a lot like everything else.

 You don't want to get any of us on the mic.

When you guys write your songs, how does the process work? Does it start with the melody, the lyrics, whatever, or do you have snippets that you put together over time? Does it just vary by every song?

Kind of varies. I think it's a little bit of all of that. Sometimes you have just a vocal melody that, like, has chords. Sometimes we just have a bunch of ideas that have been sitting around, and we just put them all together.

You guys are touring with Greta Van Fleet this year, and then King Gizzard, right? How does that feel?

How does having to factor in venue size change how you deliver your performance? Like, obviously, today it's a smaller venue. So if you're playing bigger arenas or whatever for those tours, does that change anything about how you perform?

 The bigger the room is, the worse we play, as a rule. No, well, that's not true —but I mean, like, big shows and big arenas do not mean a better show. In fact, arenas kind of suck to play.

 Even for bands that, like, aren’t opening. You get paid a lot faster if you play as many people as possible. But, you know, you can't really see anybody. You're usually wearing a pack of earbuds that are telling you what to do. It's just sort of disorienting. So small shows like this actually are probably more conducive to better shows, honestly.

I feel, like, there’s just more pressure, so we, like, take them more seriously.

Yeah. You can see people's disappointment. It’s actually fucked up.

 It’s true. There was a couple shows where — it was a show we played in Seattle, where I was sitting, like, positioned right towards the stairs that people would exit from. And I saw one guy walk up, take one last look back, and we made eye contact. So he quickly turned his head back around and left. That was awesome. I thought we played pretty well that night, but I guess he didn’t agree.

I was reading up on your coverage before this interview — and a lot of it, especially for your first album, was, like, “They’ve come to save rock, they're this and that, and 

,” and blah, blah, blah. I think you guys have mentioned that that wasn't your favorite sort of narrative. Was that just not something that resonated?

Yeah, it's all true. Rock is at the top of the charts now.

Well, there's always a last fucking great rock band. There's been a last great rock band since, like, the fucking ‘70s, dude. I feel like with any band that is new and has some sort of attention, people love to romanticize the idea that [does a voice] “These guys will come around, and save rock and roll music, thank God,” but it's like, there's so many bands around. We were inspired by a bunch of bands that are still active. I don't know, it was a very weird thing, because then they'd be like, “Who do you guys listen to?” Like, King Gizzard and Black Midi and Led Zeppelin and shit.

Well, no, it was especially weird because, like, we had no fans when people were saying that. So it was completely fabricated by magazines to sell more magazines.

We had no music out. It wasn't even, like, you know — like, you could read the article. Like, “Check these guys out.”

Yeah, and it obviously didn't work because we barely sold half the tickets from our first tour, so no one gave us shit, except, you know, whatever freelancer was writing for NME. So it feels good now. It feels more organic and on merit that we've actually been able to get people to come to the shows. That's been very much felt by everybody, because the first tour was a lot of people with their arms crossed.

It was probably just a bunch of people that were trying to see what the hype was about. And we would play a show with, like, seven people there.

There was a time when we played in Germany, and this dude came up afterwards and goes, “I'm sorry for my city. I'm sorry nobody came.” We were like, “Oh God, it's okay. Like, you came.”

I don't know if it's just my opinion, but it seems like a millennial thing to do the whole rockist — like, waiting for the second coming of the Strokes or whatever. I feel like audiences who are closer to our age, like Gen Z, whatever, are going with less of the wanting the 2000s to come back.

I think it's just an accessibility thing, because the generation of music listeners right now, or the newest generation of people that are streaming music, are learning about music with everything right there. Like, when we were making “Projector,” we saw videos of what was going on in south London, and we were super intrigued by it. Whereas like 20 years ago, we wouldn't even know that it was happening. So it's good. I love r/indieheads because they'll be relentless about, just, if it's good or if it sucks. Which is kind of awesome, because it's not like, “These guys are the best band around right now. They're the biggest band around.” I think it makes the importance of articles like that just nil, because nobody that is listening to music is reading articles like those.

 Yeah, it really is. Like, whoever is commenting on YouTube has as much power in my head as Rolling Stone. They call my music mid, I’ll cry.

With your guys's most recent music videos, like “Cowboy Nudes” and “4D Country,” you guys aren’t in the videos themselves. It’s just characters, like that old cowboy in “4D Country,” wandering the setting, things like that. Was the creative direction your guys's idea?

He's the gremlin. He's obscured. No, that was definitely, yeah, we didn't wanna get on camera for the music videos for the most part. So we hired some actors off Craigslist to do the job. Boy, did they deliver.

Is there any specific reason why you didn't want to be on camera?

I remember when they kept trying to make us do one of those live performance videos.

Oh, like the “Low Era” video. That was just the result of us doing whatever. That video turned out fine, too.

 We tried a performance video for “Exploding House.”

The timing was fucked up. They had, like, a JBL speaker and were like, “All right, play along to this.”

I guess you could probably just do more if you don't have to be in the video. Then you can tell whatever story you want to tell, and it doesn't have to be centered around you being in the video, and you doing those things. I don't really know how to be on camera like that. But you can just hire people that do know and make a better piece.

Would you guys say you have a wide range of references? Like, I think you guys have mentioned Ween a couple of times in interviews. In addition to the ones you've already mentioned, are there any new sources of inspiration that you've had since completing the “4D Country” EP? That can be music-related or visual, or, like, books, whatever it is.

 I mean, the Beatles, just getting into them for the first time.

We’re doing our musical homework and listening to all the bands that y'all were on in, like, high school, and just dive into it.

I mean, no, lately, we've honestly had more of an emphasis on — we're doing demos right now. We're doing a lot of writing, and we're going to play at least one new song tonight. But, we're just — more of an emphasis on, like, live music. Like, stuff that's especially older, like the one-take stuff from the ‘50s and blues and stuff like that. And a lot of Miles Davis. And some canned stuff too, some weirdo tape stuff that we've always been into. But we're sort of singing in a new way.

Just trying to make, like — I don't know, not overcomplicate shit cause that's what we tend to do. So stuff at its core is very, very simple or like super — I don't know, I think it's more about, like, we're trying to fuck with the atmosphere. More than just, “We need to do this and you need to play it fucking perfectly right now.”

You guys have said that you really had to weigh the decision to whether to break up and go to college versus stay together. What factors went into that decision when you made it? It would still be an active choice that you're making now, right?

Honestly, as of recently, I'm pretty sure I’m not gonna go to college at this point, which is okay. We have friends who are in college who are really interested in what we're doing, and touring, and, you know, all of it. It's kind of exciting. But then, I sometimes feel like the grass is still greener on the other side, because I definitely don't have that many friends right now, other than the band. Like college, you know, at the very least, you're paying money to get friends, you know, who are interested in the same thing. So I don't have that. But all my friends are fucking adults who are engineers and are miserable and, you know, do fentanyl by accident. So, anybody else?

I’m not gonna answer this question because I’m totally unequipped to answer it. I shan’t.

Maybe at some point. It doesn't make sense to me right now. I tried taking some classes last year. And they went okay. I couldn't really split my time and energy in the way I was expecting to. So if I get to a point where I can do that, and I want to go study something specific, then yeah. Hell, yeah.

With your guitarist [the Dec. 2023 departure of founding member Foster Hudson], he made the other choice, right? Was that challenging at all or was it just, like, “I get it”?

Interview with Geese, an American band

On January 24, the first day of spring programming, WRBB set up a table on Centennial Quad to sell some leftover merch, hand out stickers, and talk music! We asked our DJs and other Huskies what songs they'd play on their show — or a theoretical set, if they didn't have a show. Check the photos (by Bela Omoeva) and answers out below!

Aki, one of our events directors (!!), picked Troye Sivan's single "One of Your Girls."


Julia chose "Ring of Past" by Men I Trust.

Maya Patel shared "Colour Blind" by Sault.

Kate and Katie stopped by our table and recommended "Bad Boy" by Yung Bae, bbno$ & Billy Marchiafava.

Maya is the host of ET's Golden Record, airing Tuesdays at 3 pm. The show is themed around different aspects of life on Earth (e.g. capitalism, dance, and road trips). For the weather-themed episode, Maya chose Rain by BoA.

Conor and Lane settled on "Murder on the Dancefloor" by Sophie Ellis-Bextor and "Road to Nowhere" by Talking Heads.


Sylvia, our second Troye Sivan fan of the day, picked "Rush."

Sasha and Maggie chose "Homesick" by Catfish and the Bottlemen.

Olivia Olson-Roberts is the host of "The Roberta Roberts Power Hour," airing Tuesdays at 11 pm. They liked "Victoria" by The Fall.

Nia Anderson is the host of "Tummy Hurts," airing Tuesdays at 7 am. Nia recommends "Both Sides Now" by Neil Diamond.


Anne is a fan of "This is What You Came For" by Calvin Harris and Rihanna.


Sai Nikhil Kunapareddy and Arjun Pesaru picked "Naatu Naatu" from the movie "RRR."

Miranda chose "Take Me Out" by Franz Ferdinand.


Neeraj liked "Kinky Love" by Pale Saints.


And a few more behind-the-scenes pictures, featuring our assistant media director, Grace Sawin and DJ Kira Eske!


WRBB on the Street #1

Last Wednesday, AfterHours was hit with two stunning performances from Mei Semones, a jazz-influenced Green Line Records artist, and Kate Bollinger, indie pop singer-songwriter with a captivating voice. The L.A.-based Virginia native's latest EP 

 dropped a year ago. Kate's currently working on her music and touring, most recently with renowned indie duo Tennis. Onstage, Kate performed solo, holding our attention with only a mic and a guitar. WRBB’s Bela Omoeva managed to nab a quick interview with her before the show!


This interview has been lightly edited and condensed for clarity.

Bela Omoeva: So I guess I’m just gonna start out simple — have you ever been to Boston before?

Kate Bollinger: No, I'd never been to Boston.

You’re originally from Virginia, right?

Yeah, I lived there for two years. I just moved from there.


So I know you studied art with a concentration in film at UVA, and just going back and watching some of your videos, like “

,” for example, with the whole storyline and stuff — did you have a hand in the creative direction of that?

Yeah, definitely. I mean, not as much for “Who Am I But Someone,” because for that video, I found a director [Allyson Yarrow Pierce] who was very specific in her style, and I knew that if I got her to direct it that I wouldn't be able to be as involved, which was fine with me because I loved everything that I'd seen that she'd done. But that was kind of a rare situation. Usually, I like to be really involved. The “Yards” video just kind of began with an idea that I had, and then I was just bouncing it around with two of my friends, and I just kind of came up with the whole thing.

Where does your specific taste in aesthetics come from?

Oh, that's so hard to answer. I think it's just kind of all a big combination of everything that I like. I just like a ton of different music. I grew up listening to a ton of pop music, but then my older brothers would also show me the music that they were into. So I feel like I kind of built up a pretty varying music taste, I guess. And it's the same, I think, with visual taste. But recently I've been into a lot of like, ‘60s imagery.

What was it like touring Europe in January?

It was, I think, four shows in the U.K. and then three shows in Europe and it was solo. So fun. It was just, like, really exciting. And I had never been to any of the places that I went. So that's really fun. All the crowds were super nice.

Yeah, definitely. I mean, I'm so grateful to be doing it, but it is like any job, I think, in that way. It can just be sort of tiring and it can be stressful, and you're with, like, if you're not touring solo like I was, it can be five weeks in a band with the same people, so it can get stressful. But it's also exciting.

What was it like working with the team that you put together? How did that come about?

So my drummer Jacob [Grissom] is one of my best friends from high school, and then he introduced me to Chris [Lewis], who plays guitar, when I decided that I was going to put a band together. And so, Chris and Jacob were two of the original members of the band. And since then, I've kind of just pieced things together. The guy that I had playing bass, Noah [Luna], has joined us for a couple tours. He was roommates with Jacob in Nashville. So it's all kind of, I don't know, a lot of it has been through word of mouth and friends of friends, which I like. But now that I'm out in L.A., there's so many good session players, too. So I had this bassist Erica [Shafer] play on a tour a couple two years ago, and she's great. So, all different kinds of ways.

What's the role of location in your songwriting, if any?

I think a lot of the songs I've been writing are about not really having roots at the moment. Like, I've just kind of been all over the place, which is great, and I love doing that. But also, you know, it's weird not having a home base for a while.

” single — which is really good, by the way — and I kind of noticed this difference from some of your older stuff, where before, your voice would be like, in the mix of the wall of sound, whereas on “Running,” it was almost, like, just your voice and the sort of sparkling production that came in later on. Was there any specific reasoning or direction that your thoughts were going in for that?

Yeah, definitely. I think that's sort of the direction that I want to head in and that's sort of how I've wanted things to sound for a while. I feel like I've finally learned to communicate what I want. So I'll definitely be making more stuff with that production style in the future. Sam Evian recorded that and we have plans to record again soon. But yeah, it's nice to record something sort of in the way that you wrote it. Like, I feel like when you work with the producer and other players, the song can sort of get lost in translation the more people you involve.

Were there any specific influences that you thought of? I heard a little bit of Angel Olsen, but I don't want to put words in your mouth.

Angel Olsen’s amazing, I love her music. For “Running,” I'm trying to remember what I was listening to, because it's been a long time, actually, since we recorded it. But, um, I grew up listening to a ton of Feist. Specifically on her first two albums, 

, they're both like — she has a lot of songs that are very sparse, you know, it's just her voice at the forefront. And I love hearing a strong voice in a song. So that's definitely a big influence.

What's it like touring with older acts like Tennis or sharing space, which is, you know, already stressful enough on your own. Does that make it any easier or harder?

It's funny, before I ever toured, I assumed that the bands would be, like, hanging out all the time and doing everything together. And it can be that way. But a few of the tours that I’ve gone on recently have been very separate, and COVID has had something to do with that, and people not wanting to get sick on the road and stuff. With a few of the bands that we toured with recently, we really only saw them, like, briefly at the venue and then we wouldn't really see them. With Tennis, we went out with them two times, but other than that, you know, we wouldn't see them a ton. Maybe that has to do with the fact that they are a little bit older, and they've been touring for a long time. They're not wanting to, like, party with us every day, not that we're doing that! But, like, I think maybe with a younger band, we would be in closer quarters or something.


Do you have any plans to release a full album anytime soon?

Definitely, yeah. I am focusing now on — I've been writing an album and I have plans to go to upstate New York to record with Sam again. We're going to record. I've been, basically over the past two years, I’ve been trying to figure out who I want to produce the album and I feel like it's been really, like, I've been so slow to figure out what I want. But I think I finally know the exact sound that I want to go for. But yeah, I'm definitely going to release an album. And then, I mean, I could see myself releasing an EP in the future too. But I think for now at least, I'm focused more on albums.

So I think that's pretty much it. I guess if there's anything else that you wanted to say, that would be cool. I'm in the habit of, when I interview people, I'm like, “Oh, do you have any questions for me?” Which is, you know, not always fitting, just a habit.

No, I actually was thinking before you came, I was, like, thinking about what I want interviewers to ask me. And I was thinking about my favorite interviews with bands or artists that I like, and I feel like the best ones are the ones where they talk about the music that they like rather than their own music.

Yeah, maybe! But anyway, what kind of music do you like?


I gotta think... I’ve been listening to “The Most Beautiful Girl in the Room” by Flight of the Conchords, that's cool, and “Enjoy” by Bjork, from her 

 album. But yeah, it's crazy that you mentioned Feist because I love her. I love “Inside and Out” and “Mushaboom” especially from 

I think she did, like, her masterwork on that. Yeah, and it's cool because I went to one of her concerts in D.C. —

And she did this completely new twist on the songs she was performing. I mean, I just love when that happens, when someone plays and you just hear the music differently afterward, even though it's the exact same recording.

Yeah. Exactly. That was such a good show. I was, like, crying for so much of it.

Q&A with Kate Bollinger, indie darling and WRBB’s Spring Fling headliner

British alt-pop artist PinkPantheress brings drill rapper Ice Spice onto this remix of her single “Boy’s a liar.” These newly-certified zoomer stars have been on a hot streak the past few months – after hitting it big in 2021, PinkPantheress released several singles and her EP 

The track shimmers with bubblegum synths and PinkPantheress’s relaxed vocals, but where the original is almost weightless (in a good way!), Ice Spice punches it up with her verse. The rookie rapper is both catchy and funny, and it shows even in a genre outside of her comfort zone. “Boy’s a liar Pt. 2” is addictive – at first, I just listened to it once and went on with my life, but next thing I know, I’ve listened to it 30 times in three days and watched the 

 too. (PinkPantheress songs tend to be like that.) This song is a hit!!!

“Boy’s a liar Pt. 2” is the collab of the year

Kid Renaissance, $cary Jerry, Aristotle Jones, and The 805

In the back room of a restaurant between TD Garden and South Station, Noise Complaint Productions held its third show on March 31st. A student-led, D.I.Y. enterprise, Noise Complaint 

 for local student musicians, usually held at the upscale eatery City Winery. As young people milled about, networked, and drank ice water, the three artists booked for the night prepared their sets, and the show began around 8:15 p.m. The ones set to perform that night were Kid Renaissance, playing mostly R&B, $cary Jerry, a rapper with nigh-epileptic energy, and Aristotle Jones & The 805, performing rap with a serving of heavy guitar and ‘70s influence. The artists performed with their bands in tow — or, in the case of $cary Jerry, with hypemen. Kid Renaissance did eight songs, $cary Jerry did five, and Aristotle Jones did seven.

City Winery’s equipment left something to be desired. This isn’t out of the ordinary for small-scale music shows — Northeastern’s own AfterHours venue is known to have sound quality issues. While Kid Renaissance’s singing was largely unobstructed, $cary Jerry’s and Aristotle Jones’ rapping was often near-inaudible. Despite the mic issues, the backing bands could generally be heard fine.

The Noise Complaint show was the kind of show you’d find yourself at through a friend of a friend. It’s not quite the kind of the thing one would want to go to alone or as a total stranger to the scene, but that also lent it an intimate, house-party-ish quality, and despite the technical hiccups onstage, the performers had some charm and evident passion. During the second half of Aristotle Jones’ “Wasted,” the song slowed down and warped as Jones mock-drunkenly stumbled around the stage. The guitarists of the night, for Kid Renaissance and Aristotle Jones, were something like virtuosos, or, as my roommate put it, they “made love” to their instruments. One moment from the production was particularly memorable. During Kid Renaissance’s light and energetic last song, the band engaged in a brief jam session — a cute, jazz-like moment of synergy. Covers were performed, too, including a few of artist Karson’s songs and one of Mac Miller’s. The night ended with more people in the room than when the show started.

Noise Complaint Productions’ third show was energetic and scrappy

London-born musician Nilüfer Yanya has long been the kind of artist who those in the know rave about. Yanya started off with singles “Small Crimes” and “Keep on Calling” in 2016, had an incredible 2017 run with the indie pop song “Baby Luv” and the 

 EP, and released the track “Thanks 4 Nothing” in 2018. These previously released songs, “Golden Cage” and “Baby Luv” in particular, shared a distinct self-assurance. Yanya’s music videos, directed by Molly Daniel, were vibrant but moody, with a film-grain sensibility. Gray London buildings and grassy beaches paired well with Yanya’s impassive gaze. As strong as the artist’s singles and EPs are, Yanya seems to be less comfortable with the longer format of an album. Her first album, 

, featured fanciful interludes from a dystopian healthcare organization, and padded its tracklist with weaker songs like “Monsters Under the Bed.” But trim the fat from 

, and one would have found Yanya as strong as ever in “Heavyweight Champion of the Year” and “Heat Rises,” with terrific videos to boot. The 

 EP (2020) had the great “Same Damn Luck.” Now, Yanya returns with her second album, 

, which seems set to continue her status as a critical darling.

The song “stabilise” is the lead single from this album, and pursues a frenetic, rhythmic sound with the echoing, layered vocals typical of Yanya. The accompanying video that depicts her walking among apartment buildings and donning sunglasses is similar to the lo-fi video for “Golden Cage” several years ago, except in HD. 

continues the habit of Yanya’s albums being growers, compared to the immediate pleasures of her one-off singles, and this time around, she’s done away with interludes. The opener “the dealer” is strong and easy to hum along to, and introduces light, fast guitar instrumentals as a central element of 

. With their easy, thrumming pace, the stars of the album are “chase me,” “midnight sun,” and “try.” While this change in instrumental style brings a new speed and wavelength to Yanya’s songwriting, it also tends to muffle the open, airy sound found in her previous work. Yanya’s voice can carry a track on its own, but 

doesn’t quite give it the same chance to rise and expand as before, with seemingly more focus given to the lyrics themselves. The album’s cohesiveness is a strength and a weakness; on one hand, it shows the specificity of its vision, and on the other, it feels almost as if a briefer format like an EP would have suited this new sound better. 

, but it’s clear more time is needed for Yanya’s flourishing talent to take center stage.

Nilüfer Yanya’s second album "PAINLESS" hides its charms

Synths, light percussion, guitars, and horn instruments halfway fill the space, but air is at the heart of 

. As Welsh musician Cate Le Bon’s voice intones abstract lyrics, the songs melt together. With its insular focus on a specific mood, 

 feels like an EP disguised as a full-length album. The cover art for Le Bon’s sixth album features herself dressed as a nun, staring out blankly into the distance. The expression makes it easy to conceive of the nun as the character of the album – the lone planet around which the world of 

The lead single “Running Away” is by far the standout; it’s the sixth track out of nine, and feels like the culmination of the whole project. “I’m not cold by nature,” Le Bon sings. “This could bring me to my knees…” The music video features multiple analog TVs, each with a different, bifurcated image of Le Bon: walking barefoot, her hands in her lap, and in chainmail, while the artist herself drifts under purple projections of light. Other songs, like “Moderation,” echo the vulnerability, stoicism, and longing of her persona. In the video for that song, too, Le Bon dons different costumes and plays with images, masks, and materials. The props’ effect is slightly artificial, but suit a character whose songs lean towards self-consciousness and drama like the lyric “I was born guilty as sin” on “Cry Me Old Trouble.”

Still, even as the atmospheric sound works in tandem with the imagery, there’s some songs that are lesser than others. “Remembering Me” leans repetitive in its lyrics, and the almost-yelping chorus distracts from the smooth instrumentals. “Dirt on the Bed” sways to the other direction, being just a bit too slow and droning; and “French Boys” has terrific production (the diffusion at 3:37 is just right) but the hook lyric – “French boys are making me wait” – is neither strange or poetic.

 is better approached as a whole than a collection of tracks. It’s so cohesive and single-target in its fixations that it could be too narrow and sparse for some listeners. For those who dig Le Bon’s sonic world, this is a perfect work to sink into and let expand.