Released: 4/20/15

Wrote and recorded a lot between 2010 and 2013. Years passed and I figured I'd just finish up some of the more solid songs and release an album out of it. Years passed again and I feel super weird about the album. It's like re-reading an old journal of yours and cringing at every word. But I guess I'd rather it be out there than not, right?

As a li'l bonus, replace the song "where the split should be" with the entire "somnolent split" album, I meant for it to work lyrically and musically. Something I dig.

Thanks to Tyler Taormina for drums on Bed Blind, Windowless, and Penny. Also, for keyboard on Windowless. And vocals and song-writing on Penny.
Thanks to Robyn Schmitz for vocals on Silentongue Syllables.
Thanks to Steve Labrecque for Drums on Silentongue Syllables, Myselfish, The Only Thing Ever Worth Doing, and To Kill a Symbol.
Thanks to Tom Macaluso for Trombone on The Only Thing Ever Worth Doing.
Thanks to Konrad Kamm for noise on Myselfish. And bass on Penny.
Thanks to Pat Madej for letting me use his bass pretty much any day I felt like recording.
And thanks to Cara Burney for carving up that tree with me and taking the picture for the album art! Ain't no Penny, just you.


Released: 2/27/12

Musically inspired by the albums Grape Blueprints Pour Spinach Olive Grape, S/T II: The Cosmic Birth and Journy of Shinju TNT, and Ys. It is a dream. I wanted to utilize the acoustic guitar as versitile as I could. I wanted to make something extremely dreamy and trippy without any use of delay or overblown reverb. I wanted to capture the rollercoaster emotions from my dream (and post-dream) as best I could. I wanted to keep myself engaged in the song even during the droney parts. I wanted to extend those droney parts as long as I could and freak out as much as possible.


Released: 6/25/11

A li'l Love EP I wrote in my phase of "write the next song from the ending of the song before it" but I ended up releasing these three tracks 'cause I felt like it would just keep going and eventually I'd lose the happy I was feeling while recording this. If I did continue this trend and recorded all the songs I wrote in this era, you'd hear after the last track to be Eaten Up (on Our Roofs) and then Cute Pop Apocalypse (on Puddles). Anything after that I never finished. I consider those 5 one big piece, but hey, I was feeelin' fine at the end of Morning Sunfruit, so why wait 'til something goes wrong and I write the next song? Had to release it as a hopeful me, ya know?

And the album art is an oil painting I did of the sunrise. There's still beauty to be seen after leaving Eden.

Released: 12/18/10

I recommend this album on those cold boring nights that aren't terribly sad, just meloncholic about a li'l love interest that's past and you sorta miss'm. When me and Robbie talked about doing this split, I had been recording in my room with one condenser mic duct taped to the desk to avoid it rolling. No songs in mind either, just recording and seeing what comes out.

Released: 11/05/10

First time tuning my guitar to something weird I made a whole album out of that tuning. DADF#AE if you want. Very fun album to make. Recorded and mixed by Cole Verderber. A great man.

Possible album arts:

The video was shot a day before I had to paint over the wall that "I drew a mural on my wall". Miss that wall, lots of friendships made and amazing times with everyone coloring the wall with colored pencils.

Released: 8/15/09

This mind-blowing album cover (one of Tyler's favorites) is the result of one night when a few of our friends tried finding images in the pixels of some Rubik's Cubes. At first they were little things using the 3x3x3 but then we moved up to the 4x4x4 and 5x5x5 cubes and drew some really... interesting scenes. For a while after that we had drawing sessions with our friends and families to see what different things everyone saw in those few bright squares.

So the cover makes a little more sense, here's the 5x5 face: