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Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays, is a one sound autobiography that exhibits the skill, feeling, and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally. And full-length it is: The Golden Ravedays is an epic album of 24 tracks stretching over 12 respective chapter albums, released on Hippie Dance sequentially during a one-year period. The eighth piece of The Golden Ravedays of the series introduces two tracks that will take you to the far side of somewhere you've never been before. They are both reminiscent of outer space blues playing spooky games in a dust bowl. Side A features "Tuesday Paris Texas", a tastefully arranged track with vintage sounds passing nonchalantly through a wild western aural landscape. The music is announced like a cowboy movie dual, complete with bar doors swinging on rusty nails in slow motion. Mournful guitar strings swirl over a steady horseback galloping beat, expanding into a full-on-fire dance track. Halfway through, a woman's haunted voice appears and disappears like an eerie siren, a gunshot is fired (was that a gunshot?), a man whispers "what!?". "Tuesday Paris Texas" is in no hurry to give an answer. Side B features "Mirage", a desert sound collage glued to a steady pulse that rolls and rolls, circumventing any destination. "Mirage" is a contour map of no surprising peaks, just undulating valleys of wistful cathodic sound creeks, sometimes veering off to plains in full-view of the moon and in earshot of solitary wolf cries. Like "Tuesday Paris Texas", "Mirage" is testament of Superpitcher's versatile prospecting beyond the elemental sound tools of the electronic music trade.