Rows isn’t literal or abstract. It’s probably somewhere in between, or so wishes it was normal, like you or me. The first album Aroomnoonesees was mostly comprised of live one-take tracks versus an editing structure. Even with all of its flaws and blemishes, the one-take style is something I’m typically adamant about.

- Not because I’m pressed for time or I want to produce shitty material, it’s just that in my experience when cleaning up tracks and removing those blemishes there’s just a finished product that’s not as engaging. One-takes carry an unpolished essence that makes B-sides, live tracks, demos, etc. so appealing.

I started out a handful of songs for Rows with the idea of simplistic pop songs in the vein of Neutral Milk Hotel and a sort of adolescent/immature, pop-punk spirit. I wanted stuff I could play acoustically live and not look like a total ass, but also songs I could layer with synthesizers, samples and live drum machines.

That’s where Rows takes an opposing direction with multiple one-take tracks. The hardest part was balancing out that sound. From first listen it may seem like timing is off and things aren’t properly balanced. There is some of that going on, since these are quick one-takes, but the intention was always to play with form and kind of go against what the trained ear expects. The simple chord progressions carry the songs, and then the drums or samples create the disorienting consistency.

Lyrically, Rows is more serious and at the same time there’s a larger element of humor added to the mix. Rows means death. Either rows of gravestones, mass homicides, multiple flat lining EKGs or any other kind of bureaucratic symbolism. We face rows everyday, but the uplifting factor is the creative impulse all of us embody to disrupt the order of rows and break free of destined loneliness.