this track was not made by me, full credits goes to the amazing band north folk.

North Folk - The Wolves Away

Trying Not to Have a Thought

You've Always Been Here

Revelation 420

World of Difference

Million Dollars

Moving Out

the fakest and gayest emo music ever made

Recorded in 11 cities from July 2021 - July 2025

This record was made using the same “internet band” process as Our Skies Smile, with parts being recorded individually and compiled into one project file. We spent countless nights screen-sharing our DAWs on Discord, deliberating the details.

Thank you to everyone who has supported us along our journey as a ridiculous multinational maximalist internet emo screamo jazz band. Everyone who played a show with us, housed us, helped us with booking, and came out to dance and cry at our shows has made these past three years so meaningful.

Recorded, produced, and mixed by Gingerbee
Mastered by Cash
Cover art by Leah Schram
Recorded July 2021 - June 2025
Drums recorded at Victory Drive Music Inc. by Jono Grant

Melody Sohani - live drums, synths, clean vocals, electric guitar (2), sampling

Dani Giguere - lyrics, screamed vocals, accordion, tambourine, acoustic guitar (2)

Gustavo Nome - electric guitar, acoustic guitar, classical guitar, cavaquinho, bass, lyrics, clean vocals, synths, keyboard, upright piano, electric piano, melodica, percussion, miku otamatone, slide whistle, percussion (cuíca, clave, bongos, tambourine, triangle, tamborim, pandeiro, agogo bells, egg shaker, cowbell, 40-inch gong, glockenspiel)

James Witte-Cook - alto sax, tenor sax, soprano sax, flute, clarinet, bass clarinet, electric guitar, backing vocals

Nicholas Garza - violin, electric violin

This project would not have been possible without the help of:

Leah Schram - cover art

Jacob West (Summer 2000) - cello on tracks (1,3,4,5,6)

Matijs Dijkgraaf - upright bass on tracks (1,3,4,5,6), backing vocals on the chorus of track 3

Julian Lewis - upright piano on tracks (1,4,5,6), electric piano on tracks (4,5), percussion on track 1 (wood blocks, timbale, cowbell, glockenspiel, bongos, marimba), percussion on track 6 (timpani, glockenspiel)

Joy Wratten - trumpet on tracks (1,5)

Tilley Komorny (Home is Where)- slide guitar on tracks (3,5,6)

Cash - Mastering

Maria Cristina and Faruk Nome - backing vocals on track 1
 Carolina Diamantaras - intro backing vocals on track 4

Clementine Teare - backing vocals on the chorus of track 3

Alex (drug bug/WillyRodriguez) - chorus lyrics and chords on track 3

Pinhole Blanket Sun

Ain’t no Mercy on Judgment Day

Buck Rogers (a version of Feeder's)

“Fragments of Time” is a philosophical and emotional concept album exploring the fragile relationship between memory, time, and identity.
It does not tell its story linearly — instead, it moves through shifting fragments of recollection, where each song captures a different facet of the self seen through distorted memory.
The album asks a central question:

Who am I, if my memories can no longer be trusted?

Across its tracks, Fragments of Time navigates the blurred boundaries between what was, what might have been, and what was never real at all.
Themes of lost childhood, missed chances, trauma, and false remembrance weave through a non-chronological soundscape of progressive and psychedelic rock — blending analog warmth, orchestral textures, and experimental atmospheres.

Musical motifs reappear in altered forms throughout the record, symbolizing the reconstruction of identity through imperfect recollection.
Each reprise is like déjà vu — familiar yet subtly changed, mirroring the way memory reshapes itself over time.

The sound is both melancholic and cinematic:
delicate acoustic passages dissolve into vast, orchestral swells; distorted guitars and reversed pianos evoke the collapse of linear time; ambient textures breathe between moments, like ghosts of songs already forgotten.

In the end, Fragments of Time reaches no definitive conclusion.
Instead, it finds resolution through ambiguity — accepting that the self is not a fixed truth, but a continuous act of remembering and letting go.
The closing track, “Unwritten Hours,” fades into reversed echoes that lead seamlessly back to the opening of “Echoes Before Dawn,” creating a circular loop — a sonic metaphor for time folding in on itself.

Fragments of Time

Lost childhood

The Medicine

The Scars to Prove It

You've Always Been Here

Algernon Cadwallader

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