Track list:

Side A
1 Isotope shortage

Side B
2 Ruined repairs

Side C
3 The delay of intolerance

Side D
4 The delay of intolerance

Release description:
In November of 1938, Samuel Barber’s ‘Adagio for Strings’ was broadcast on radio for the first time. It was regarded as “full of pathos and cathartic passion”, and “perfect in mass and detail”. While it was generally well-received, it was also criticized as “suffering from repetitiousness”, and being “dull and utterly anachronistic.” It is often labeled as ‘the saddest music in the world’, and is one of the most recognizable pieces of popular classical music. In an interview with the New York Times before his death in 1981, Barber said “I wish people would listen to my other compositions.”

‘I love you so much I can’t even title this’, inspired by the music of Samuel Barber, was recorded in 2008, processed on tape and a laptop. The title alluded to a Morrissey song, and she once summed it up by calling it ‘the laziest title I’ve never written’. I remember painting the handmade die-cut sleeves in the garage, having to hold a rag over my nose and mouth to keep out the fumes. At the time, it seemed like an exercise. Studying poetry had distanced us from the world – and did we think anyone was even paying attention, anyway? The theme was overwhelmingly obvious, and the title was direct. A few years later I chose a photo for the cover of a cemetery in New Orleans – another direct message, yet like everything else, entirely unintentional. You’d be surprised how beautiful the cemetery was that day in the sun, and how you’d probably be wrong about every other assumption, as well. But then, what does that matter, either? Music only has to be.

Originally self-released in 2008 as ‘I love you so much I can’t even title this (The light that never goes out went out)’ on CDR in a handmade, limited edition.

‘I love you so much I can’t even title this’ is available on 2xLP on sky blue, white, and black vinyl from Infraction, remastered by Taylor Deupree.

Track list:
1 This Thinking Globe Exploding
2 The Carved God Is Gone; Waking Above The Pileus Clouds
3 Stargazing Lily Lacks The Flower
4 Retranslating The Upside-Down Mountain
5 A Crush, A Hero-Worship & Hyperrealism
6 The Separation Of The Two-Phased Apple Blossoms
7 Delaying The Entropy; In Emptiness, Forms Are Born

Release description:
Limited to 500 copies in digipak. First edition.

Track list:
1 Illegal Photographs Of The Funeral Fires / In A Pulse / Dancing As Terrorism / Varanasi / Auctorial Days Of Delhi / So Very Sari, I Swear / Chest Mulct / The Sangha Inside / Sweep / The Ananta – Shesha Over The Ganges / New Years In Dharamsala / Leaving A New Home / Shesha (That Which Remains)

Track list:
1 This Thinking Globe Exploding
2 The Carved God Is Gone; Waking Above The Pileus Clouds
3 Stargazing Lily Lacks The Flower
4 Retranslating The Upside-Down Mountain
5 A Crush, A Hero-Worship & Hyperrealism
6 The Separation Of The Two-Phased Apple Blossoms
7 Delaying The Entropy; In Emptiness, Forms Are Born

Release description:
Limited to 500 copies in digipak. Remastered by Chihei Hatakeyama with new layout by Rutger Zuydervelt, an unedited version of Track 6 and a new track from the original sessions entitled “Retranslating The Upside-Down Mountain.”

Track list:
Disc 1
1 Untitled

Disc 2
1 Untitled

Release description:
“In February of 2008, Dani and I recorded, mixed, and completed the music for ‘Salvaged Violets’. The words came as the subject line of a short poem, sent to me over email, included with an unrelated question. During these weekdays, our working schedules were almost the opposite, but we spoke over email constantly. Until recently, I did not notice how similar this was to our beginnings, sending letters as we were on different sides of the country. With no conceptual idea in mind, and since we were apart for so much time during the weekdays, we decided to begin ‘Salvaged Violets’, and see what came of it. Every night when I returned home, before sleeping, I would spend time working on the music that Dani had worked on through the afternoon, and had left on the desk. Every afternoon, she would find a different version to work on that I had left, and this continued for some time. When together, we would sip our tea, laugh at silly jokes, cook, watch television, and so on. There was no need for longing while we were together. There was always laughing, pots and pans clanging, or a muttering television. In forming ‘Salvaged Violets’, we did not mix it in a particular arranged order. It was mixed simply by the order it was first played, compiling many miniature sections rolled into one. In this case, they were rolled into two. Nothing was discarded, nothing was rearranged. As the sound changed over time, the original form did not. When it was finally complete, we listened together, for the first time. I remember how familiar it seemed, yet I also felt that so much of it was unknown, and undefined. More than a year later, in September of 2009, I revisited the recordings for the first time since 2008. At this time, it was being mastered by our good friend Corey Fuller, so I was still listening to the original. Riding my bike through the endless suburban subdivisions, through the busy downtown streets, I listened repeatedly, for days, over and over. Something was familiar, but so much I was unable to recall, and yet I was able to relate. I returned home, put my bike against the door, and took my headphones off. There, in the still silence, I think I understood finally what it was about.” Will Long, December 2009

998 copies. Stoughton mini-lp gatefold CD sleeve. 12 art prints and photographs by Peter Lograsso. Mastered by Corey Fuller.