Moth in the Milkglass

by Milieu

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Dennis Albrecht There is something weirdly therapeutic about this one. The album feels like fresh wind blowing in your face whilst driving your convertible down a lush and fresh valley at dusk.

Plinth Punk definitely stands out and changes the convertible to a refreshing bike ride through space itself. For me, it stand amongst one of Brian's best upbeat songs. Favorite track: Plinth Punk.

JaZz Amazing, medicinal release. Favorite track: Riverfree.

love_horses god damn, excellent EP. Gorgeous, Favorite track: Now U 92.

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Devin Underwood (Specta Ciera/Devroka) thumbnail

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	1.	Moth in the Milkglass 07:48
	2.	Plinth Punk 10:53
	3.	Now U 92 07:08
	4.	Riverfree 11:26
	5.	Royal Rover 07:20

about

Almost a year following the release of The Flower to Disappear, I have finally returned to it with a second single, a mini-cornucopia of warped Milieu melodies, sad-happy guitars and sun-warmed basslines, cast over chopped breaks and gate-abusing drum programming. 'Moth in the Milkglass' is my favorite track from the second "side" of The Flower to Disappear, and I am happy to revisit it here on what is less a single and a bit more of an EP.

The b-sides offered here are psychedelic jaunts of varying shades and temperatures. 'Plinth Punk' is a love letter to The B-52s (among many other things) and was written in/named after a 5-string guitar tuning of my own design, in a nod to the forever missed Ricky Wilson, and fellow B's fans will likely pick out a good few references to their sound. Never before has there ever been another band or artist who have influenced so much of my work, especially on Milieu recordings.

'Now U 92' follows the ten-minute excursion with an alternative take of the midsection from 'White to Pale Yellow', a looping and droning nearly shoegaze mantra that brings the song's 1960s sample provenance a bit more to the forefront, and still deep fries it until it somewhat resembles something from Magic Arrows (or my take on it), another perennial favorite here.

The EP continues with 'Riverfree', something that began life as an alternative mix of 'Planet Everfree' but gradually shapeshifted into something a bit Halifaxian, a bit Bike too, which is how something ends up situated as a b-side to begin with I think. Imagine if 'Planet Everfree' was produced during the 'River Mural' sessions and you're close. 'Riverfree' is the only track on this EP that does not include guitar, incidentally.

Closing the set is the slow-burn feelgood 'Royal Rover', echoing more than a few shapes on the Thalline Dress album, which to my mind remains one of my strongest statements for the arrival of Spring. For all of the misunderstood ladies who wear the Thalline Dress, the 'Royal Rover' is their vessel, and I have built it to weather the seasick waves just for them.

Now that the Winter is withering away, and I've broken ground on composed work such as this, it is my sincere hope that I can finish my next album of arranged and ornamental music, ideally in time for my birthday, but I am hesitant to promise. For now, here is 'Moth in the Milkglass' - a branch in the path before us that is always there, the ever-present 'other' simply waiting to be chosen.

credits

released March 3, 2023

W/P by Brian Grainger. Recorded at White Pillar Summer 2022-Winter 2023. Mastered by The Analog Botanist. Text by Brian. Design by ABM&D using visual sampling from Max and Dave Fleischer. This is Milieu Music number MML181. (C) + (P) Oscillog ASCAP 2023. All nights preserved.

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about

Milieu Dayton, Ohio

Psychedelic electronic music, sun-warmed analog ambient and sci-fi braindance, for cats, aliens and epicureans alike.

I also release music as Coppice Halifax: coppicehalifax.bandcamp.com

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