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No matter what tweak to the overall aesthetic Nelson may make, Pan-American’s music is as interesting as ever, precisely because there is no end in sight.
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White Bird Release, while not as conceptual as For Waiting, For Chasing, almost by default flows as a sort of suite, with each track named after a fragment of this quotation.
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Just as the song titles have little meaning if they’re not read back to back, so does the music only fully cohere upon listening to the record as a continuous, flowing piece. But the dream doesn’t seem to lift us above the ground; something about Nelson’s chaste guitar timbres and middling drones keeps us from arriving there.