You Should’nt try to barrow other People’s skin.

You Should’nt try to barrow other People’s skin. [sic] was recorded professionally with quality vintage microphones, while a few tracks were self-recorded. Each song was recorded live in the studio - no overdubs, no edits - giving the album a raw, authentic edge.  All songs were recorded analog to 2-Track tape or 4-Track tape, with the exception of one song being recorded on a portable tape recorder. Overall, the guitar sound is heavy, hypnotic, and catchy.  And at times drone-y and chorus-y.

The whole release starts out with a somewhat jarring piece, Hair Productions Presents Lucas Gunn's Petertag, a very quick thick drone and high-end burst, more expected on a noise record, but showing Lucas’ range and playfulness. It actually sounds like it could be the introduction to a low budget horror movie.  Almost like a wake-up call, get ready! We are Purple is so different than that House then resets the tone for what’s to follow, a mid-tempo American Primitive guitar piece with bursts of left-hand arpeggios, and right-hand story telling. It has an infectious nursery rhyme quality at times, yet leads into unexpected, unpredictable territories, paving the way for what is to come. The next three pieces feel like a triptych, Shadowy Movements from a Frozen Human Being Blues, She has 4 Faces but she's cold, and Flowershop Greens all move in and out of emotional stories, raga/raag at times, and always head-nod and toe-tap inducing. Each song utilizes a distinct left field sonic modulation, transforming the structure into an unpredictable journey with Shadowy Movements… played in an uncommon tuning and 4 Faces…played in a dark, minor tuning. Is finishes off the side with a short, playful, and almost classical sounding piece.  

Grandma Rainbow Nervous flew away tomorrow starts side 2, continuing on with the perfect combination of left and right hand American Primitive styling ala Fahey. Luc then performs a great instrumental rendition of Mississippi John Hurt’s Monday Morning Blues. Last Creepy Ever take one starts with a vocal introduction, and then proceeds to its haunting minor key theme in a natural chorus’y tone. My Flower and my Yellow skinned bird has a spontaneous and unscripted quality unlike the other songs, a more home-recording sound, with herky-jerky plucking at times, like a peak behind the curtains. Petertag's mom and dad love theme is a short keyboard/synth based ditty that feels like a very unexpected shift after the previous wandering guitar piece, but works well. Swallow the Bird Floating in Sunlight then returns to the guitar, and has the feeling, like the title conjures, of watching birds floating and soaring in the sunlight, possibly in the late-day golden hour’s glow, right when the sun is laying its head down for the night.