“Devil Inside”: Rob used a tape loop of an orchestra pitched to different tones, and ran that to high tape saturation using really old tape stock and a Studer 1/4" deck. So the orchestra crackles a bit here and there from the old tape being driven so hard. This sound reminded me of an old sepia toned photo.
"Neverneverland": Rob sampled a male vocal with heavy vibrato using a vintage Akai S612 sampler and turned the sample backwards and decreased the sample resolution down to 6 bits to give it a jangly electric grainy feel, which I felt countered Libby’s vocal nicely, especially during the big lead-up to the last set of choruses.
"In This Life": Rob used an old Casio SK-1, which is a small 32 key, 8-bit battery sampling keyboard from 1985. He "circuit-bent" it, so it has new switches on it that came from Radio Shack in Austin rather than 1985 Japan. The switches can randomly re-connect the keyboard's circuit points (and thus the sounds) by literally being soldered to newly introduced wires between the original circuit boards, generate one-of-a-kind sounds that you had better record NOW, because you'll never quite re-create what you're hearing from the keys after today. Believe me, I've tried! The "In This Life" example is one of of those times that I was messing with the SK-1 and the right sound appeared. There are other places on the album that the SK-1 visits as well.”
“This Austin-based songstress possesses a clear voice that weaves itself unexpectedly through a melody, and a firm command of acoustic guitar... she easily shares the lineage of Joni Mitchell, Rickie Lee Jones, or Ani DiFranco."
—Carrie Havranek, The Village Voice, NY