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Seventeen years after their teetering debut, Vancouver band Frog Eyes unveil their eighth and final album Violet Psalms - a giddy lament; a gnashing jubilee; a rain-drenched allocution on hope vs. horror, paradise vs. pride, Marx and Brexit and bad acid trips. No guests, no engineers. A self-invention. Violet Psalms began with its frantic, reverb-drenched guitar, squiggling over a modulation pedal. Next Carey Mercer and Melanie Campbell concocted the drum parts - imagining them an onomatopoeia then recording them in fragments, kickdrum by kickdrum, tom by tom, with tailored effects. "The goal was to disorientate," Mercer explains, but also to work by instinct, gut - a cut-up of music and image, songs that coil back and kiss. The band pruned as they went, adding Terri Upton's bass parts, taking other parts away. Whereas past LPs used piano, Shyla Seller worked with shimmering synths - chords like bleeding watercolor, shadows casting on a wall.