Dave Segal on Truckasauras' "serious" alter-ego, Foscil:

All this booze talk may lead you to believe that Foscil's new album, Residential (due out in December as a triple 7-inch as well as digitally via Byron Kalet's Journal of Popular Noise zine), is a boisterous party record or a tear-soaked Pogues-athon. Not so. Much of the 12-track all-instrumental release evokes the bravura melancholy of Miles Davis and Gil Evans's Sketches of Spain, Tortoise's more languorous post-rock reveries (marimba figures prominently), and Ennio Morricone's sorrowful yet dulcet spaghetti-western scores. Other diversions occur in "Latona," which features a triumphant, Don Cherry—esque trumpet fanfare, and "Roy the Barber," whose mesmerizing, ascending chord progression sounds like a gorgeous paraphrase of a 17th-century classical-music piece, but which Adam composed with crucial accompaniment from Moore. The all-analog studio setup, along with editing and effects techniques influenced by Miles's studio wiz Teo Macero and Lee "Scratch" Perry, lends Residential that trademark warmth that even today's finest computers can't replicate.

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