In his not belonging fully to either/any time/place, Rodion’s music is outside time/place in the way that Black Moth Super Rainbow would kill to be, but aren’t. When all is said and done, I stand by the fact that Rodion truly has no time and place, and that his music follows suit, making it empathizingly empty and unfamiliarly spacious all at the same time.

Kingdom effortlessly creates a consistent vessel of mood music on Vertical XL, from the rowing out to sea then sinking strings of “Zip Line” to the hyper-pitched goose chase of “Takedown Notice.” It quickly becomes clear that Kingdom’s XL draws to mind one word: cold.