This given physical space lends itself to latter-day Water From Your Eyes releases. Removing the tension, like letting a tightly wound spring loose in an antique store: indeed, it’s free, but it relishes in the chaos it gets to unleash – bouncing and careening around, and in the unknown between targets, it’s creating new moments to exist and change forever.
Unpacking their own catalogue is equally a task that, due to its having more transforming action than a Michael Bay movie, gives them trouble defining. “A few early albums have more in common with each other than we do now,” Brown admits. “But then, the third release was so weird. The album that came out before Structured, 33:44, is pretty much just a noise collage. In some ways, there’s a linear path from where we started to what we do now.
“In a lot of ways, it’s not deconstructed, but it’s maybe inverted because we were just making pop-dance music that was very synthy. And now it’s not that it’s versions of that but, the sounds have become really warped which I think is awesome. I never know what Nate is going to play,” Brown says gleefully. “Sometimes it’ll be like this really crazy, bunch of insane noises and sometimes it’s a classical composition.”