This is it. The album that proved to k. Sonin that if he put his mind to it, k. Sonin could make an album that sounded like an authentic imitation of a melding of whatever specific genres he was worshipping at the time. And he could do it all by himself without the use of synthesizers to approximate other instruments.

Every instrument was played by and in the manner that Sonin had previously only dreamt of/faked on prior albums. Drums, for example, were played live and recorded with several room mics, a boom on the kick, and a couple sm57s on the snare. Effects were all specifically well thought out and as authentic as desired (within reason; he didn't rent out the Sistine Chapel to get that Renaissance Cathedral sound or anything), writing took as long as was desired on not only melodies but every individual instrument every one of which was written and recorded by the artist, everything was specifically done at the pace and with the instruments and expenses Sonin only dreamed of/fought against the majority of his 'career' up to this point.

The deep seated contrast of the finished product with those of the once 'prince of real duct tape lo-fi' champion bowed to by everyone from Bill Callahan to Jason Lowenstein in terms of how little he had to work with and how invested he was in utlitizing the most hurried, anxious and 'duct taped together' pieces of lo fidelity folk punk is all the more fascinating given how similar it is in so many ways to the finished products of his earlier works that were the exact opposite in terms of instruments used, expenses paid, and effort put forth.

In short, this album was the ultimate test of the limits of authentic character and sincerity in folk and punk music in the 21st century. How did it fare? Take a look at the number of people that downloaded the record when it came out, and the number that continue to download it and see it in the old ignorant uninformed and unconcerned manner that the entire industry had and continued to view k. Sonin with regardless of the 180 degree turn in methodology, artistic license, intentions and results, 'between thought and expression', and all that other bullshit that really meant the world to no one other than the artist, the true 'prince alone in the studio' that no women wanted to meet much less have sex with.

Unbeknownest to everyone and surprising most of all to the self-indulgent, self obsessed artistic motivation exhibition auteur, it turned out that rather than a 180 degree turn, k. Sonin had after all did a complete 360. It was at this point that Sonin declared complete 'failure' (which of course in the lo-fi anti-folk world could equally be described as success) and decided to forge ahead only in terms of the amount of effort, motivation and 'taking of everything so goddamned seriously' in general as balanced out with his recognition of the complete futility of his efforts and his desire to pursue less maddening avenues of leisure time such as watching television, LISTENING to music (instead of making it), and going to a gym. Seriously he even went to a goddamned gym.

Sad!