Shleep

Phrases like "pretentious artsy bullshit" should be saved for albums like this and not stuff like Throbbing Gristle, The Residents or Captain Beefheart, because those are just people having fun with stupid goofy sounds. This is an album that was specifically designed at a business meeting to be ART. Robert Wyatt rolled into the studio with the preconceived notion that he'd be making ART for NERDS. It doesn't feel genuine or real. It's like if you told an AI to "write a 10/10 album that music magazine reviewers can jerk themselves off to". "Oh you don't get it, the fact that he's singing off-key over the blandest instrumentals known to man is actually a profoundly intricate dadaistic subversion of rhythmical tropes crafted with meticulous attention"-SHUT UP NERD, GET IN THE LOCKER "The Wire named Shleep its record of the year in its annual critics' poll." Yeah, of course it did. Genuinely psychopath music. Listen to Kidz Bop instead like a real man. 0/10.

Brian Eno did it again. A very specific and experimental album, which is as dividing as possible. This time I have to tap out - if I would want to listen to an absolute lunatic, that has problem hitting any tune in every song, with a bunch of random noise in the background, I would just record myself taking a shower. Couldn't finish, won't try again.

The first Robert Wyatt album I ever heard was from this project - his 1974 release Rock Bottom. I loved it and was curious to hear what he was up to 23 years later. Shleep seemed to have a bit more polish. Perhaps it makes it an easier onramp to the weird world of Wyatt? There's a variety of songs and styles but all felt unmistakably Wyatt. The album opens with the jaunty Heaps of Sheeps and then heads straight into more experimental jazz territory on The Duchess. I think the exposure to jazz this project has given me has increased my appreciation of Robert Wyatt's incorporation of the form into his glorious mishmashes. And what's that in Alien? Latin rhythms? Blues in Bob Minor has Wyatt delivering some fast-paced lyrics rivalling Billy Joel's delivery in We Didn't Start The Fire. I'm so glad this project introduced me to this extraordinary talent in Rock Bottom and added Shleep to my repertoire! I clearly need to look more into the Robert Wyatt catalog.

I'm so glad we got another Robert Wyatt album --- I wondered if my strong positive reaction to Rock Bottom was a one-off due more to time and place than the actual album. With this, I'm a fan for sure. I'm in awe of this weird and mesmerizing album. (And some of it's not all that weird.) The instrumentation is glorious --- horns and piano, some great jazz drums, electric guitar layered over acoustic, vocal chanting. I will never be able to sing along with most of it and I'm totally ok with that. Very, very fine.

I've never heard an album devolve from a totally average opening track to a completely shit avant garde music so quickly. The second song was so bad that I was about to give this a 1 but the rest wasn't quite bad enough to go below a 2. Just weird, boring rock; I can't even be bothered to describe the sounds.

This album is a mix of English folk, ambient music, the Canterbury scene’s brand of progressive rock, and various jazz forms. Robert Wyatt is a veteran of the English progressive scene and this album is a triumph of all he has gathered throughout his life. The album is experimental, pastoral, jarring, and genre bending all at once. It’s certainly not for everyone, but it is brilliant.

I hadn't really acquired a taste for Robert Wyatt until this project introduced me to "Rock Bottom", which I loved to pieces. This album has more of an upbeat atmosphere, which I initially found disappointing, but it's grown on me with a couple of listens. Still prefer the dreamy haze of "Rock Bottom" overall, though. Fave tracks - "Free Will and Testament" is great, and I am apparently a sucker for Dylan pastiche cuz I really liked "Blues in Bob Minor" too...

Shleep is kinda shlitty.

I like a couple tracks but others are like being in a primary school music class.

Shlit

Never listened to anything by Robert Wyatt before, but I loved this! Heaps of Sheeps pulled me in immediately - can really feel the Brian Eno production here. The rest of the album was pretty amazing too - I think this might be my favorite "previously unknown to me" discovery since starting this project.

Instead of having two albums by Robert Wyatt in this list, I'd rather have *Rock Bottom* exclusively enhanced, and try to find a goddamn way to make most people open their minds (and ears) so that they can finally understand it. I still can't swallow that criminally low global score for that prog rock masterpiece on this app--maybe because it's not exactly "prog rock": it's a thing of its own kind, and that's where its beauty lies. In comparison, *Shleep* has nothing to be *absolutely* ashamed of. Yet it's only a late career highlight for Wyatt--which is good per se, but doesn't necessarily justify its he album opens with the wonderful "Heap Of Sheeps", and it's funny how that track sounds like a classic Brian Eno song from the seventies. Since Eno is co-producing this thing, it shouldn't come as a surprise, I imagine. As for the rest of the album, it goes from excellent compositons ("Maryan", "Sunday In Madrid") to very secondary dirges that are weighted by a free jazz horn section sounding a little too mundane, paradoxically ("The Duchess", "September The Ninth"). Fortunately, tracks such as "Was A Friend" and "Alien" manage to catch that *Rock Bottom* spark. And the last real song in the album, "Blues In Bob Minor" is extraordinary. Believe it or not, Wyatt *raps* on this one, and as you can imagine if you know who Robert is, this sounds very different from your run-of-the-mill rapping. And the music on this extraordinary closer is lively and enticing. That sole track is worth the price of admission here. What made *Rock Bottom* unique is the whole journey it had to offer and *Shleep* is different in the sense that it's only a collection of tracks going from one mood / idea to the next. I understand that its concept is the one of dreams, yet maybe there could have been ways to make the transitions between the songs remind you of the strange connctions dreams have. In a way, *Rock Bottom* did manage to do that better. But it managed to be so many things at once... *Shleep* is more like an afterthought compared to it, as good as some of its songs are. It does linger in your memory. But it doesn't *haunt* you the way *Rock Bottom* does. What can little ponds and brooks, as nice and beautiful as they are, do against an ocean? 3.5/5 for the purposes of this list, translating to a 8.5/10 grade for more general purposes (5 + 3.5). I'm rounding up to four stars to protest against the low global score of this record. Next, please. Number of albums left to review: less than 500 (I've temporarily lost count) Number of albums I'll include in my own list: half so far, approximately. Number of albums I *might*  include: a quarter, approximately (including this one) Number of albums I'll never include: another quarter (many others are more important to me).

It had some nice moments but was annoying overall

This mother fucker fell out of a window, broke his back, paralyzed, but kept on making music. PROPS. Not sure I knew what was going on for most of this album, but I generally enjoyed it! Heaps of Sheeps (great song title) and Free Will and Testament are enjoyable songs. This album intrigued me enough to want to check out his other stuff. Here’s to my fellow Broken Back Brother. 3/5

If you’ve just thrown a house party and it’s late, but your guests are lingering, oblivious to well-established social niceties and your subtle hints, this is record you play for them.

there was some stuff going on here that made me not totally hate it. But this album did not appeal to me. "Art rock" isn't my genre I guess.

Nah.

At first, I thought this was another album by John Martyn, which seemed surprising, but then realized that it wasn't. And it took me well into the 2nd song/track of the album to realize that this album was from 1997, not 1979, despite that it seems much better suited to the 70s than the 90s. Either way, I'm not sure it suits me all that well. I'm guessing that the often-atonal noises and instrument choices are intentional, as is the not-really-singing vocals, but the end-result for me is an unpleasant and sometimes cacophonous, sometimes sleep-inducing album that's far too long. It's a bit shocking that this is Robert Wyatt's 7th studio album; I'm guessing (hopeful?) that this album marked a new direction for him, as it's hard to imagine any studio seeing a wide enough audience for six previous albums like this. That said, I did enjoy "Blues in Bob Minor" and its "Subterranean Homesick Blues" cover/adaptation. I *will* say that this album wins the briefest-Wikipedia-entry award (at least so far in this collection), which is a shame as there might have been something redeeming about this album's background or production that would have made it more interesting. Also, Brian Eno truly *is* everywhere! (He's listed in the "Personnel" section of the Wikipedia entry, and you can definitely hear his playing in places on the album.) (And then I cheated and looked to Google for any reviews of this album, and came across this panegyric, where the reviewer claims "Shleep" is the best entrypoint for Wyatt and one of his two masterpieces (the other being "Rock Bottom"): <https://www.headheritage.co.uk/unsung/review/780/>. Other online reviews also revealed that he was a cofounder of Soft Machine, which makes total sense, now that I've heard both Soft Machine and Robert Wyatt in this collection. And this Pitchfork review of the Shleep reissue (among other Wyatt materials) has good context too: <https://pitchfork.com/reviews/albums/14895-shleep-eps-cuckooland-theatre-royal-drury-lane/>)

Pretentious, self-important, humorless. 1/5

Excellent! Really enjoyed the jazz infusion to may of the songs. Want to listen some more!

Well, damn. This instantly hit me. So creative and funny; love Robert's voice so much. This is right up my alley, and absolutely deserves a spot in this list. Favourite tracks: The Duchess (bonkers percussion), Was A Friend, Alien.

Heaps of Sheeps. A I iv V with a Bo Diddley beat. But weird. I dig it. Maryan. I really love the lyrical bass and the whole vibe. Feels like Pink Floyd circa Atom Heart Mother. Was a Friend. A whole-ass false song to start? Damn. September the Ninth. Wasn't expecting a jazz track. Loving the brass section. Alien. Love the way the whole song treads water the entire time, and the meditative drone lingering on at the end is a perfect way to close the song. A Sunday in Madrid. Forcing the beat poetry into that meter is delightful. The hanging harmony on the final "sleeps" is a delight. Blues in Bob Minor. Before I looked up to see the name of the track, I *knew* this was a play on Bob Dylan. Wyatt immediately dials this in. So much fun! Anyone taking the piss on Bob Dylan is immediately my friend. The Whole Point of No Return. I just want to weave that trumpet solo into a blanket and curl up inside of it. I was afraid this was going to be an experiment in noise, but I'm utterly charmed by its playful exuberance and experimentation.

Fuck this was so good - love his full accent thing going on

Not unpleasant although I don't see what this 1997 album is doing here. Totally out of context with it's surroundings. Low key, off kilter and bizarre but weirdly compelling. Gotta give it 5 because it's so damned odd.

A quirky British classic in the same realm as XTC and Robyn Hitchcock with some jazz, prog and Beefheart influences included.

This is music to make you feel like you're stuck in some time loop dream sequence and everyone has a hold on the situation, except you. Fiery Furnaces meets Another Green World. I am both uncomfortable and curious.

Interesting!

Such an eclectic, mesmerising album! With a huge scala of sounds and genre directions. Will definitely need to listen more to keep unraveling more of this interesting album! And what a beautiful ending with the short instrumental The Whole Point Of No Return! Standout tracks: Heaps Of Sheeps, Maryan, Free Will And Testament, Alien, A Sunday In Madrid, Blues In Bob Minor, The Whole Point Of No Return. 9 out of 10

10/10 I’ve only heard two of Wyatt’s albums, but I already feel like a die-hard fan he’s so fucking good at making art rock

lovely

This is interesting. I don’t hate it. Even though it’s a bit proggy, it’s actually listenable. It’s like if Peter Gabriel and Radiohead did a collaboration, and let Brian Eno produce it. Not bad at all, but very interesting. If anything, it sounds kind of contemporary. Certainly not 30 years old. It’s experimental without getting lost up its own ass. Jazzy, free flowing, expressive, cinematic, but really very listenable. I liked this quite a bit. Such a clear influence on Radiohead. Seven songs deep and I’ve already saved six of them. That’s pretty fucking outrageous. This is exactly the kind of record that should be on this list. Excellent stuff.

Love the eccentricity and it will surely annoy a lot people. But great work.

I had no idea what I was getting I to with this album, I looked at the wiki and read some of the reviews and by what it looks like, this album is one of the most divided I've gotten so far, review wise, it's all 1's and 5's. I'm only halfway through this album and I can say right now this album is getting a 5

what a discovery! this is a fantastic album that mixes the prog sound with the wonderful voice of Wyatt

For once I enjoyed and understood the amateurish songs. It helped they were few. The rest were thoughtful and often beautiful

Very nice.

Yes.

"Shleep" by is the seventh solo album by English Canterbury scene and progressive rock veteran Robert Wyatt. The album was a return to featuring a diverse range of musicians like his 70's albums. On this album, other musicians included Philip Catherine (Belgian jazz guitarist), Brian Eno, Phil Manzanera, Paul Weller, Chucho Merchan (Colombian jazz and rock guitarist) and Evan Parker (sax). The album was produced by Wyatt, Eno and Alfreda Benge (Wyatt's wife who also co-wrote many of the songs with Wyatt). "Heaps of Sheep" opens the album with guitar and a galloping beat. Synth in the background. An uplifting song with a nice vocal chorus. It reminds me of early Brian Eno. Not a bad thing. Wyatt is counting sheep as he couldn't sleep. Wyatt wrote many of these songs while suffering from insomnia. Piano, sax and drums give "The Duchess" a jazzy vibe. Odd beats and dissonant horns make this song unique. It's a tribute to his wife. "September the Ninth" is probably the most straight-forward jazz song on the album. Layered horns with a trumpet added to the saxophones. There's a piano and drums and it's mostly an instrumental song. Lyrics come in halfway and describe a woman hoping to have wings and fly away. The insomnia must have progressively become more delirious as these lyrics progressively become more "out there." And, thus, we enter "A Sunday in Madrid." It's a slow start with the piano. Drums and a Eno-esque guitar lay a hypnotic melody. Wyatt is singing rapidly, a la "Subterranean Homesick Blues." Wyatt would would perfect that in the next song. Abstract lyrics and imagery...Pa, bears, rabbits and imprisoned rainbows. This album is jazzy, dreamy, atmospheric, experimental, abstract and mostly beautiful. The influence of the different musicians lends to its varied styles and instruments. Robert Wyatt has a great singing voice even if I couldn't completely understand everything; I don't think I'm supposed to. Of the two previous Wyatt albums I've had, I really liked the Soft Machine's "Third" but had trouble with his 1974 solo album "Rock Bottom." I might have to give that one another listen because "Shleep" was quite outstanding.

Oh My Goodness THIS IS SO GOOD, THIS IS WHAT PUTS GAS IN MY ENGINE. Every second of this is divinely inspired. Gonna spin this on repeat for DAYZ. 5 STARS

Trippy af, amazing songtitles

Absolutely beautiful to its core. I never knew what to expect from the next song, and there's so much reward to listening intently to this album. Intensely interesting instrumentals, lyrically obtuse but soft and pleasant, and so vividly imaginative with its soundscape.

Fantastic. It's so magical when monster musicians make "weird" stuff. Just absolutely love this. Keeps you guessing while remaining accessible. Like John Elmquist wrote a bunch of lullabies. Also, how cool is it that this was released on Thirsty Ear? <3

Kind of a niche album, but I enjoyed it. Most '90s albums on this list are either Alternative, Electronic, Rap, or just general pop, so a Prog/Jazz fusion record is not what I expected based on the year. "Shleep" is less a product of the era and more just the result of Wyatt's decades-long experience in this unique style of music. Anyway, the album is very chill; I like the puns in the song titles, and it's cool how the lyrics vary from philosophical arguments put into poetry to the more traditional for Prog impressionist style, where the atmosphere is more important than the specific phrasing.

I like it, but I'm not sure why.

Jazz. Actually like

Really enjoyable, dug it more than I thought I would. 4 stars.

Such an entrancing album, something about is voice is just😍 Heaps of Sheep is my fav track for sure

This is where the format of the generator does a bit of a disservice to the music. I needed more than a day with this. It's layered and nuanced, and although not everything clicked for me, there's enough meat there to grab onto that on balance, I really enjoyed the experience. Best track: Blues in Bob Minor

Pretty cool sleepy post-prog stuff, I quite liked it! I think it just slides into 4 stars for me, could be higher if it was more consistent and had stronger vocals.

I'm glad that this project gives me the chance to discover these kinds of albums. I would have avoided this like the plague based on the description, but this one mostly works for me. Yes it's experimental, and it's a bit of a concept album, and it is weird and non-conforming... but he achieves a cohesive mood throughout the whole thing that I'm on-board with. There's some nice floaty songs in here... a little bit melancholic at times... and sure, there's quite a lot of meandering bits in there too, and some odd moments, but it holds true to the vision of the album and works overall for me. 3.5 rounded up.

The first track was catchy, so I bought in. The rest of the album maintained an interesting sound with a variety of weirdness that I mostly really liked. Maybe I should give the other album on the list another try???

Apparently I was not a fan of our last Robert Wyatt album, Rock Bottom, from 1974. This one, being from 23 years later, (and me being quite a bit further in this project), made me very interested in what I would hear. On listening to the second track I was walking though an area filled with grasshoppers who were flying randomly around as I walked though the grass, and it fit the music perfectly. So, beyond that I was quite surprised at how much I liked this. Definitely a bit strange and different, but in a good way that I quite liked.

This is great. Just overall interesting. Fave tracks The Duchess, Free Will And Testament.

This may be the biggest rollercoaster of a star rating journey I have gone through. First listen I was doing other things and now paying attention and thought first song was ok, but rest sucked so maybe 2-3. But I knew there were a lot of things going on so I should actually dedicate the time to listen. First track is awesome. A beautiful joyous romp that can only be described as “outsider Flaming Lips”, which is not a phrase I thought could exist. 2nd-4th tracks were a bit more weirdly and stilted in vocals but instrumentally I love what was going on. “Maryan” is better than “The Duchess” for sure. Finally with “Free Will And Testament” we are back with off-kilter depressive optimism. I want the entire this. “September 9th” is a wild jazz number??? “Alien” turns into ambient. Same as “Out of Season”. Idk the rest sorta blend. Last track is a little redemption. Back to Jazz. If all the songs hit as hard as the first I could rate it higher, but just on the general gestalt it’s a 4. Really unique offering that’s further supported by the author’s history.

Robert Wyatt is polarizing but I tend to find his sound oddly comforting.

Really fascinating reading about this guy, and what a backstory - drunkenly falling 4 stories out a window, becoming paraplegic, and THEN going on to a decades long successful solo career. This album is so quirky, but also sophisticated and charming. I plan to come back to this, and check out his other work too.

Tyylikäs kikkailulevy! 4/5

Heard before. At first I thought ugh, sounds hard to listen to. But I liked a lot of songs in hindsight. + Maryan + Was A Friend + September The Ninth + Alien + Out Of Season + The Whole Point Of No Return

4.0

I like the meandering free-form jazz-folk feel of this album, especially once we get the more conformist first song out of the way. The trombone, (uncredited) trumpet and piano create a the perfect backdrop for Wyatt's frail voice. "Blues in Bob Major" is hilarious.

very unique, distracting in a good way

I've heard a bit of his stuff but not really explored too much. This is really great though. It's pleasant and relaxing but without being too laconic or boring. Super comforting somehow. I absolutely adore the cover as well.

Kinda nondescript yet lovely

Odd in a good way. Very trippy and so many instrumenyts

I’m a little familiar with Robert Wyatt, mostly from his cover of Shipbuilding and work in Soft Machine, but I definitely haven’t heard this! It’s fun, quirky, very nice textures. Especially Maryan. Jazzy stuff happening in Was a Friend! I really like this!

It was hard to rate the other Wyatt album, and this one is tough as well. I don’t know how often I’ll play this, but I think it’s really good. As I said on another review: this is the kind of stuff that makes this project worth doing, not incredibly “normal” artists like Dexy’s Midnight Runners.

Truly remarkable. Wanted to hate this after the debacle that is the aptly named "Rock Bottom"@1974. However there is just too much here to love. For the record, I've always accepted poor vocalist and nonsensical lyrics, and this album has both. But the depth of production is what draws your attention with this record. These arrangements are nothing short of genius. I will be returning to the afore mentioned 2star album with a slightly less jaded perspective.

Didn't love all the tracks equally, but the ones I did I really loved.

I spent most of this album feeling mostly puzzled about whether I was enjoying it or not. Ultimately, I think I liked it, though I struggled with some of the lyrics.

A late career for release for Robert Wyatt of the 60s jazzy prog band Soft Cell. This release just screams Brian Eno in terms of the bubblegum pop vocals (purposely out of key) on top of alien-sounding electronic instrumentation, often alternating or a combination of jazz, ambient, classical, pop, and rock. It seems like a release straight from the 70s in terms of instruments and song structures, except with cleaner production. I'm sure it would've sounded a bit messy if released the same time as Rock Bottom. I have little complaints. Each track stands leaves its mark, and it accomplishes its goal without coming too forceful. "Blues in Bob Major" is the only sore thumb. Not a bad track, but a weird one that ruins the mood a bit, especially near the end of the record, and doesn't really sound like anything else. Wyatt's very mature at this point in his life and knows not to get too crazy for its own sake. I do think the record could be cut quite to around 40 minutes. Some tracks do drag on, with "Alien" being the biggest victim. But it doesn't assault much with the ambient vibe going on.

Fun psychedelic, prog rock with some pop elements. I think Beatles plus early Pink Floyd with a dash of ELP.

First this record screams out: „Look at me!!! I am ART !!!“ The the deeper you get sucked into this somnambule state the more you recognize the beauty and hypnotic powers each song offers. 4.4

Gimme that weird jazzy shit! I have never heard of this one before and I'm hella into it. Blues in Bob minor was a particular highlight. I definitely wanna time up to this album some day, just feels that kind of experience.

It’s like a dream where everything isn’t quite arranged right and you only have a suggestion of things that you can remember. But despite everything feeling out of place, it doesn’t feel disorganized. It feels like a new way to accept reality.

B+

Very good album. Didn't know Robert Wyatt before this, but he's 2/2 for bangers. 4.49/5

This album is fantastic! The way that the key of some songs just seems to perpetually modulate and Robert's whimsical vocals really sell the concept of the album being a dream. High points for me are Duchess, Alien and Blues in Bob Minor.

I tend to be lukewarm if respectful toward Robert Wyatt, but I was excited to listen to this one today. Whimsically weird and adventurous, with alternating moments of dissonance and loveliness. Gorgeously arranged, with a brilliant group of musicians on board, including Brian Eno, Phil Manzanera and Paul Weller. A bit challenging, but in the best ways. Fave Songs: Heaps of Sheeps, Blues in Bob Minor, The Whole Point of No Return, Alien, Free Will and Testament, A Sunday in Madrid

Surprise fun, never heard of it. Strange voice and beats.

Early Pink Floyd’ish meets Mike Gordon/Leo Kottke

Very good RW album, which I did not know in advance. Not in the same league as Rock Bottom, but still very good.

An intriguing album by an idiosyncratic artist, Wyatt shimmers sometimes, misses other times, but is an engaging, memorable musician.

Interesting different album

interesting stuff

Weird in a really enjoyable way for the most part. There are some songs in the middle that lose me but the highs are so fun I can listen to this album repetitively. 3.75/5

Okay I liked this but can understand the criticism. A lot feels like it’s divisive for the sake of contrarianism but it’s a well crafted album. Looking forward to diving more into his catalog. 3.5/5, giving 4.

Got into this one more as it went on - 4 stars

Actually quite cute and feelgood music. Never heard it before, but I like it

A pretty weird album. It has all of the weirdness of pure psychedelia but mostly without that style's typical, jarring dissonance. Instead, Wyatt adds some of the compositional quality and instrumental detail of prog rock into the mix. The result is mostly pretty cool, occasionally quite fun, also occasionally a head-scratcher though. What was he thinking? Was he thinking? Or just fully embracing his inner dadaist whimsy, slapping on layers of musical paint, following some intuitiv patterns, seen only by Robert Wyatt? Who knows - I don't.

His voice is always a comfort. There's a lovely blend, as always, of silliness and heartbreak, pop and jazz that makes the whole thing a pleasure. Not his peak, but amazing to do this well this far into a career.

Robert Wyatt could be one of the best discoveries of this process for me. I loved his 1974 second album 'Rock Bottom' and really like this, his sixth LP, from 23 years later. Eclectic, quirky and charming with a dreamlike quality, I find this really appealing. Rating: 4/5 Playlist track: Heaps of Sheeps Date listened: 13/04/24

Robert Wyatt’s Shleep is such a weird listen. On one hand, I have no clue what im hearing, and its mostly making me uninterested. However, in a select few moments, the album really does feel abstractly attracting, the seemingly stupid collection of sounds and vocals is listenable and quite enjoying. This experience is evident on Heaps of Sheeps, September the Ninth, and Blues in Bob Minor. I saw a comment somewhere, likening this album to a industry rushed ‘perfect album’. That is the perfect description. All in all, Shleep is a good album. Best Song: Heaps of Sheeps Worst Song: The Duchess

Doesn’t have that exquisite unnerving enchantment of “Rock Bottom”, but there were songs during which I got into the weird magic of the sound. A few songs were too poppy but overall I like it

So interesting. Not your typical album - very progressive and experimental. It does work though. 4/5

A pretty strange album, but seems to have had an impact on British rock for a number of years.

Surprisingly diverse and fun. Some very catchy tunes.

Takes a few tracks but loved this

Robert Wyatt e built different...

Classic Wyatt strangeness. Hasn’t lost a thing with age!

I don't know why I was mentally preparing myself for a disaster album. Other than a couple of oddballs, I thought this album was dreamy and electic.