Music for the DMV (NEW!)

New music! Listen and purchase now on SpotifyBandCampiTunes, Apple Music, Amazon, Google PlayTidal, Napster, iHeartRadio, Deezer, Saavn, Anghami, KKBox, Down In The Valley, and Shazam.

**WTUL New Orleans:

Review excerpts:

“The tracks range in mood and timbre, with “Bouncyland” being one of the cheerier, more melodic pieces. There’s a hint of playfulness in the bubbly drum machines and keys that would probably make the DMV (or DOR as we call it here in Washington) seem a little bit less of a soul-sucking bureaucratic nightmare.” Ball of Wax Quarterly

“…the track [“Call My Number”] can simply be termed as beautiful. Soft, gentle tones with an angelic voice make this a stunning end to the album and sees Elizabeth on top form.”hiapop

“‘Industrial Ambient Prelude’ is Chopin with a house beat. ‘Club Clanger’ is jarringly busy, whereas ‘Bouncyland’ is loads of fun, with an all-drum breakdown that Big Freedia might sample. Many of the rhythms here are inventive enough that you want to hear them outside the 8-bit context, with brighter synths and bigger drums.” – ANTIGRAVITY Magazine

“…interesting electronic music…”The Letter

“A pretty unusual but wonderful listening session;” “a honest electronic album that you should hear immediately!” Yeah I Know It Sucks

“Brilliant…” -Independent Music Podcast

“It’s a fun and chaotic, murky…album, you should check out!” Olivia on Radio Ravioli, WFMU

“Brilliant;” “lovely” Is This Thing On Podcast

Brian Eno’s Music for Airports aimed to create ambient soundscapes, equally appropriate for listening as they are for ignoring. Airports can be places of great joy and anticipation as travelers leave for vacations or return home after long journeys, and Eno’s soothing sound installations echo this mood.

The Department of Motor Vehicles, or DMV, however, is not a happy destination for anyone. The closest thing to an eager DMV visitor is a teenager taking their driver’s test, and even that is an experience tinged with anxiety. Music for the DMV, therefore, seeks to mimic Eno’s example of creating background music to fit a specific location, but acknowledges too the inherent agitation and uneasiness associated with a trip to the local vehicle registration and driver’s license office.



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