Album Review – Stephen Wilson Jr.’s “bon aqua”
For nearly four years now, Stephen Wilson Jr. has been teasing fans with single and video releases that set this songwriter in the minds of listeners somewhere between Tyler Childers and Ryan Bingham in style, with glimmers of how he could become the next big independent country riser beside the other raw and honest performers emanating out of Appalachia and other disadvantaged areas.
Unique, edgy, and original, with a visual component to his music via the moody and imaginative videos that accompany his releases, Stephen Wilson Jr. is like no other artist you’ve seen before, yet comes with a distinct leaven of familiarity in how his music calls back to the influences of past country music and 90s grunge rock in equal measure. This marriage of appeal has made some opine that he could be one of these independent artists destined for mainstream impact.
But some in the independent ranks may be surprised to find out that Stephen Wilson Jr. is already in the mainstream, and has been there for years. Though he sings about hills and hollers, and dresses in thrift store fashion, Stephen Wilson Jr. is very much a specimen of the mainstream, and has been since signing a publishing deal with BMG Nashville in 2016, contributing songs to artists like Old Dominion, Brothers Osborne, and Caitlyn Smith.
From Southern Indiana, and raised by a single father who was a boxer, Stephen Wilson Jr. was a Golden Glove kid himself whose path to middle Tennessee didn’t come through country music, but in the pursuit of a microbiology degree at MTSU in Murfreesboro. While at college, he started an indie rock band called AutoVaughan as the lead guitarist. He eventually left the band after graduating to become a full-time scientist … before eventually deciding music was more his speed and stationing himself in Nashville.
Though many queries have been sent to Saving Country Music asking for an assessment of Stephen Wilson Jr. over the last few years, judgement was reserved until he released a proper album as opposed to a succession of singles so a more global assessment could be made. Recently Wilson Jr. signed to Music Row label Big Loud, best known for being the home of Morgan Wallen and Hardy, and released all of his singles and a new song in an EP format calling it bon aqua.
The album starts out with the stunning and immersive song “the devil,” which Wilson Jr. originally released in 2019. Whatever hype precedes this strange and somewhat elusive artist seems validated by the visionary approach and turns of phrase captured in the track and its accompanying video. Stephen Wilson Jr. definitely has a distinctive sound that finds its inspiration in America’s seedy and forgotten underbelly where decrepit things are left to decay.
But as you keep listening to this 7-song EP, you start to hear the somewhat shockingly pervasive influence of mainstream songwriting methods work themselves into the process to the point where it starts to feel more like commercial product than music from the muddy hills. Specifically, Stephen Wilson Jr. succumbs to the list style of songs, which starts out as forgivable, yet quickly becomes taxing and exposing of his creativity due to their pervasiveness.
The second song of the album “American Gothic” with fellow Big Loud artist Hailey Whitters (and the only real ‘new’ song on the album) certainly evokes a moody, brooding attitude to go along with its Gothic theme. But the song ultimately boils down to an achingly repetitive machine gunning out of terms as opposed to trying to tell a story through narrative and character. Mellencamp, Springsteen, marijuana, seventeen. White frost, bean field, bonfire, kerosene” the chorus drones over and over.
Sure, it may not be the “truck, beer, tailgate, dirt road” laundry list that we’re used to from the mainstream set, but the approach is basically the same. It’s ditto for Wilson Jr.’s biggest hit “Year to Be Young 1994.” It’s evocation of nostalgia is effective on the audience, but the song devolves into a list of 90s artifacts as opposed to engendering appeal by putting together any kind of deeper theme.
“Hometown” is a song that’s been done ad nauseum, and yet again relies on nostalgia for appeal, while the Lumineer’s-style Millennial whoop in the chorus is pretty unforgivable, however infectious it might be. “Holler from the Holler” feels like what a Bro-Country songwriter would come up with if he was told to rewrite “Whitehouse Road” by Tyler Childers. There’s no composition here in either the lyrics or the music. It just devolves into yelling, and hopes that loud and crunchy guitar can pull a content-bereft song through to the end.
“billy” devolves even more, taking bad Pixies-sounding indie rock guitar, another Lumineer’s-style “Hey!” for good measure, and repeats the line “You can call me Billy, but the hills come with me” a torturing sixteen times. The final song “The Beginning” ends on a bit more of a positive note, but as opposed to developing the pretty good premise for the song deeper, it degrades into a nebulous soundscape. If this was a movie soundtrack, these songs may work for something. But it isn’t. The music on this album is a general mess—all about mood as opposed to exploring the art of instrumentation.
You want to give Stephen Wilson Jr. credit for trying to do something different here, and taken as a whole, bon aqua does make for an interesting musical expression and discussion point. Like Big Loud’s Hardy, he seems to be self-aware, and wanting to find ways to uniquely express himself. But it’s all of the style, and little of the substance that makes Appalachian music so reverberative. And yes, it is a shame that the Bro-Country era so destroyed the value of list songs. But that’s the way it is. One or two is passable, but putting out an EP full of them and hoping to find appeal with folks who are used to actual songwriting is not going to fly.
An EP of mostly previously-released material is just the start for Stephen Wilson Jr., and he certainly shows some promise and an interesting approach. But if he wants to be taken seriously as an artist beyond Music Row circles and Morgan Wallen fans who also listen to “Feathered Indians,” he’s going to have to say something, as opposed to just listing something.
6.7/10
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May 16, 2023 @ 8:21 am
this is my GUY! I agree with you on a couple things but disagree on a lot of this review.
BIGGEST DISAGREEMENT: you’re out of your mind for not absolutely loving Holler From The Holler. it is the embodiment of Nirvana tinged grunge country that every Texas rock guy since Koe says they are but nobody actually is. I think the writing, instrumentation, everything on that song is great so quite suprised by your take.
Agree that “the devil” is a banger. its great. Also agree that American Gothic is “list-y” and doesn’t really suit his musical style! It was his first release after signing to Big Loud and had (has) me worried about the direction of upcoming music.
However! Disagree that “year to be young” is list-y or derivative. Yes it lists stuff! But i think it does it tastefully and DOES put together a deeper theme of the emotions of growing up. that song rules
hometown’s not great. I think billy is better than you give it credit for but i can definitely understand your criticisms of it.
Overall, i was truthfully a little bit disappointed by this EP due to 1) lack of new songs and 2) american gothic and hometown, but still think it was very good and he’s probably who I’m most excited for to continue releasing new music.
P.S i am personally and deeply offended by you earnestly comparing him to fuckin Hardy lol thats low
Stephen wilson Jr rips!!! and so does Jeremy Pinnell
May 16, 2023 @ 10:43 am
So first off, there is a reason that so few reviews around here get ratings between 5.0 and 8.0. The reason is because when I have an album that I generally feel favorable about, but have some critical things to say of, it’s going to be misunderstood by people. It’s going to be taken as a negative review. So I shy away from them. And no matter what I say otherwise, the criticism is what folks are going to focus on, and take away from it. The reason I made an exception here is because so many people requested I review this guy.
I would agree that “Year to Be Young 1994” isn’t a “list song” 100%. But “American Gothic” is, and leads into “1994,” which definitely has a list component to it. That is the reason I usually wait to review things in the context of an album cycle. That way you can take a more global perspective on the music. It’s not really any one song here is problematic. It’s how Stephen Wilson Jr. shows you that he can be a great songwriter with something like “the devil,” but then leans on the lazy list-like approach with other songs.
Then when you understand that he’s been within the Nashville machine since 2016 and contributing songs to Old Dominion, it all starts to make more sense why we’ve seen his approach to songwriting devolve into this very mainstream Nashville style of lyricism. Perhaps because unlike some independent music fans, I spend so much time listening to mainstream stuff too I can see the forest for the trees more distinctly. But to me, it’s pretty obvious what is going on here.
I share these criticism because I think this is a good and promising artist. I think he can be a great lyricist because he’s shown us glimmers of that in the past. And no matter how much folks may like songs like “Holler from the Holler” or ‘billy,” they could be so much better if he took more time to focus on his songcraft as opposed to just his stylistic delivery.
May 16, 2023 @ 2:04 pm
Fair enough on judging in the context of the whole album. I’m dying on the hill that Holler is a well-written song that also happens to go extremely hard though. I really think the only weak spots are Gothic and Hometown, and even those are pretty solid. I did note that score-wise its an overall positive review though so we agree on that at least, even though i think its a minimum 7.4
I think you should review any album you want to, even if the review comes off as or is mostly negative. it’s fun and sparks discussion. also fuck em!
there’s one really good album a lot of people have been murmuring about in some elite circles that you could review that rhymes with Woodshy Pellay by Laramie Winnell
May 16, 2023 @ 2:10 pm
I for one wouldn’t mind more reviews even if you’re critical of them. Because let’s be honest, a majority of albums feature a couple great songs, a couple good, and the rest is ok to bad. And even that is subjective as each listener has their own tastes just as a reviewer has his own. Honest criticism and the reviewers personal take is the point of a review.
Some people may disagree on your takes on an album and may voice that. That’s not necessarily a bad thing, as someone else may find some new music they enjoy through your review even if you didn’t. Or they may agree and be happy someone else shares the same opinion.
As for this album, it has been featured as a new Americana album, and people are obviously enjoying it. I myself didn’t really care for it, and thought your comment about stylistics over substance is right on. Almost good, but not quite there.
May 16, 2023 @ 3:39 pm
“Perhaps because unlike some independent music fans, I spend so much time listening to mainstream stuff too I can see the forest for the trees more distinctly.”
Better you than me. My life is way too short to listen to that shit. I appreciate your dedication to your craft, though. I also appreciate your thoughtful and insightful review of an interesting debut by a guy I had never heard of until very recently. Personally, really enjoying this effort. Can’t wait to hear what you think about his live performance.
May 16, 2023 @ 10:51 am
You said it all. This is our next badass
May 16, 2023 @ 8:43 am
I’m glad you reviewed this one Trigger even if I don’t agree with everything you said you make some valid points. I first heard Year to be Young a few years ago getting some good airplay on The Ranch. For me it had a unique sound so I dug into his catalogue and found some I liked and others not so much. What sealed the deal for me that he has something special was seeing him open for Morgan Wade in a 300 cap room. His energy and live voice was truly incredible as he banged on a beat up old acoustic guitar accompanied only by a pedal steel player. Maybe a handful of folks in that room had heard of him before the show but he had the place mesmerized. You may be right that his potential is greater than his output to date, but that potential has me excited for a true album soon.
May 16, 2023 @ 10:44 am
I have not seen this guy live yet. He’s on the calendar to see multiple times this summer and I look forward to it.
May 16, 2023 @ 9:23 am
I disagree that Year To Be Young is as listy as you thought – it starts that way but the rest of the verses and choruses have a lot more to say.
I think you’re generally right to point out the room for growth Stephen Wilson Jr. has as a songwriter. But what has me and others excited I think is a genuine country-grunge hybrid of sound that I‘ve never heard from any other artist.
As much as you’ve rightfully maligned country’s genre crossovers when they go poorly (especially hip-hop), new influences done well are always going to be interesting to me. The SCM readers who want everything new to sound like George Strait probably won’t love this. But acts like Koe Wetzel, Morgan Wade, Kolby Cooper, Chris Stapleton, and the Vandoliers have struck a balance between being widely appreciated in the country world and staying true to a personal sound that includes influences clearly outside of the country sphere. I’m hopeful that SWJ can join that group. And like others have said, he was an amazing live show when I saw him at Under the Big Sky last year. He had a three piece band but played genuine grunge lead guitar parts himself on an old acoustic, which isn’t something you see much.
That said, I can also see a career path the way of Hardy, where we get one genuinely great album (I’ll die on the hill that A Rock is one of the best front to back projects I’ve heard this decade) and then terrible butt-rock after he’s established himself as nominally country.
Once this dude releases a full album with Big Loud backing, he’s going to blow up quick. Find him love now while you can.
May 16, 2023 @ 10:54 am
I don’t need Stephen Wilson Jr. to be pure country. I think one of the greatest things about his music is how well he’s mixing country with 90s grunge influences, and like Jim Bones said above, so much better than others who try. I also think Stephen Wilson Jr. can be better than those folks you listed off, because there is a rawness and realness they struggle to capture.
My concern more has to do with the battle for Stephen Wilson Jr.’s lyrical influence. To me it feels like a tug and pull between the independent and the mainstream. His instincts are to follow the path of folks like Tyler Childers. But when you get deep into the Nashville machine like Stephen Wilson Jr. has, it can result in songs like “American Gothic.” In a perfect world, the Bro-Country era would have never happened, and we could enjoy a song like that for what it is. But Bro-Country did happen, and it just feels like formulaic product, at least to me.
All that said, I like Stephen Wilson Jr. I look forward to seeing him live (missed him at Under The Big Sky). I look forward to what he has coming in the future. And with a bit more focus on making the lyricism match the creativity of the musical approach, I think he can be great.
May 16, 2023 @ 11:41 am
Going back to the Hardy comparison, I feel like a lot of the same themes were present in his early career. Hardy’s debut album (and some material from his earlier EPs) had some exceptionally strong songwriting. Signed Sober You, Give Heaven Some Hell, One Beer, and A Rock are all great examples – even if the sound isn’t up your alley that was some of the best songwriting in country music for a two year period. And even when he wrote mostly about country stereotypes with more lust writing (Unapologetically Country As Hell, Rednecker, Boyfriend) there was always a twist that separated it to me from everything else going on both in the mainstream and the independent at the time. But he had plenty of clunkers and radio ridiculousness also and over time those started to outpace the kind of songwriting found on A Rock. On his newest album, there are a couple of well written songs (Screen, Wait In The Truck, title track) but mostly uninspired lyricism that departed completely from his debut project. Hixtape 2 and his features since have been almost universally terrible, and it seems clear that he’s chosen the Nashville lyrical style over the kind of stuff he had on A Rock.
To be clear I think this is a great review. And I appreciate the highlight on The Devil, which was the first SWJ song that I heard way back in 2019 (thanks Spotify algorithm) and I think it’s by far his best piece. I really hope Big Loud helps both him and CWG explode.
May 16, 2023 @ 9:51 am
I guess it depends on what your cup of tea is.
I really liked this. In agreement with other commenters with points of disagreement. LOL
May 18, 2023 @ 8:36 pm
Yep, to me it’s more about a different take on the country genre. I love country but more often or not artists seem to copy each other whether on purpose or not. The result is interchangeable, mediocre at best, monotonous music. Very few stand out to me, and I think SWJ has potential. I think it’s a good EP, but I definitely think he can get better.
May 16, 2023 @ 11:41 am
Listened to the songs above. My wife looked over her shoulder while they were playing and scowled. Pretty much sums up this households’ feelings on the tunes. We just don’t get it. Can’t wait for Marty’s new album to drop.
May 16, 2023 @ 1:39 pm
Strange and interesting artist for sure, i liked the ep and i don’t even like grunge rock ( saw Nirvana live once though). Also agree on the mainstream vibe.
May 16, 2023 @ 1:40 pm
“The Devil” is compelling. “American Gothic” isn’t because it’s self-consciously literary.
We don’t give a rat’s ass about literary categories.
He should’ve stuck to being a backwoods semi-Christian version of a Jay Farrar weirdo but no, he had to “package himself.”
Embrace the weird, Stephen.
May 16, 2023 @ 2:08 pm
SWJ drops heaters and heaters only!!! I get big koe vibes from this guy! I’m big in to grunge rock so I get why people wouldn’t love it.
Trig, I would love to see a quick review on Koes latest album, especially “So Low” which features Turnpikes steel guitar player.
More power to Stephen. I love people who just embrace the weird music they make and are proud of it.
May 16, 2023 @ 2:13 pm
Didn’t know that Travis Meadows had an alter Ego. Tell me with a straight face that Hometown isn’t just a sped up version of What We Ain’t Got. He even sounds like Travis. Still pretty good. But man he seems very similar to me.
May 16, 2023 @ 2:23 pm
Saw him open for Lone Bellow last week and he was dynamite live and put on a great, high-energy show. I had never heard of him before so it was a pleasant surprise.
May 16, 2023 @ 2:26 pm
I can’t tell anyone how to live, work, or create, but really wish he would have carved his own outside of Music Row.
Agree with Trig that there’s some cool, unique elements in here like “Holler from the Holler” featuring a distorted acoustic in drop tuning. There’s also a lot of industry BS, the most glaring being shamelessly recycled melodies and lazy songwriting on a debut release.
I liked that melody in American Gothic a lot better when Lorde did it in “Royals”. I also don’t think Church’s “Springsteen” has been gone long enough to rip it like “Year to be Young did”. There’s also a very distinctive line to be drawn between wanting to be edgy and agreeing to use handclaps in a chorus.
Only Steve can decide who he wants to be, but I hope it’s more than the answer to “If you love HARDY’s kickass rock album, you’ll love this guy!”
May 16, 2023 @ 2:30 pm
I think SWJ has the potential, but like so many people I’ve come across in life, not many see it to fruition. It would be great to hear him develop the grunge and country aspect because I haven’t heard anyone yet that has merged the two seamlessly. “Holler from the Holler” feels like it could have been that song. “the devil” is sonically different than most music I listen too, and I think it is refreshing. However, “American Gothic” is just painful. Hopefully, he takes a break from mainstream Nashville. It does make me nervous to see what’s in store for Charles Wesley Godwin.
May 16, 2023 @ 2:32 pm
Don’t like the Hardy comparisons. Not sure SWJ has had the word beer in any of his songs and he’s a hell of a guitar player. He’s not satire like Hardy tends to be. Been listening to Wilson a lot for quite a while. He’s the most exciting new artist I’ve heard in years and my comparisons would be early Steve Earle and Homeboy style Eric Church
May 16, 2023 @ 2:33 pm
This dude looks like Maynard from Tool.
Unfortunately there are a lot of commies at MTSU, just saying.
May 16, 2023 @ 4:33 pm
This is another miss for me, if it works for some people ,great, as for me, not so much. I personally will be waiting for chapel hart’s new album as well as Marty Stuart’s new release as well.
May 16, 2023 @ 5:59 pm
if one more person compares this man to fucking hardy i am going to absolutely lose it. jeremy pinnell rips.
May 16, 2023 @ 7:59 pm
The 1994 song reminds me of Eric Church’s Springsteen. Appreciate the song though – he’s probably the same age as me and it was a good walk down memory lane (my life was a stereo too and the songs were so much more). I agree with the last paragraph/summary above. He has an interesting sounding voice.
When I looked him up I saw he is married to Leigh Nash – side note – her song ‘God Gave Me Horses’ made me shed a tear a few weeks ago at first listen. Wasn’t shocked to learn Connie Harrington was the co-writer. Would like to hear him sing a story song like that one. I feel like he has some stories to tell and I look forward to hearing more of his perspective on his next album. He is talented and has an interesting weirdness that I like.
May 17, 2023 @ 6:22 am
Georgia Country Music Fest just announced its undercard lineup this morning and SJW is on it – and the great Ben Chapman. Labor Day weekend in Marietta. The full lineup is solid, but still not enough female artists. For anyone within a days drive of Atlanta worth checking out.
May 17, 2023 @ 6:52 am
PASS.
May 17, 2023 @ 12:53 pm
Your description of SWJ’s mixture of country and grunge reminds me of an artist I caught live recently opening for SG Goodman that I have been captivated by ever since.
He’s MJ Lenderman and while he’s more of a country-influenced act than a hybrid, his lyrics completely changed the way I look at songwriting. So abstract, so simple, yet so profound. I guess the only thing that makes him country-adjacent is the lap steel in his band, but to me it’s grungy, country-ish, indie rock and it’s so well done.
That show was over a month ago and his Boat Songs album has been my most played album since. It’s incredible. I think it will largely be missed by most of the americana community because it leans on the indie side more, but I can’t get enough of it. So much steel, so much fuzz, just unlike anything I have ever heard before.
https://youtu.be/-8UTZB_khVM
May 17, 2023 @ 3:49 pm
Holy shit, is that Logan Brammer from The Pink Stones on pedal steel?
May 17, 2023 @ 4:13 pm
No, but both of those dudes are rocking a similar look lmao. MJ’s steel player is Xandy Chelmis.
Xandy and MJ also play in the indie band Wednesday. They are also fucking awesome and have country influences. They are blowing up pretty big among the alternative scene right now. Just recently released a stellar album. Previously did a EP of covers that included a cool cut of She’s Actin’ Single (I’m Drinkin Double)
https://youtu.be/U_O7rYBKOzw
May 22, 2023 @ 8:03 am
The song “Chosen to deserve” on that Wednesday album is absolutely amazing.
May 18, 2023 @ 7:55 am
Thanks for the intro to this guy. I’m gonna have to dive deeper into his catalog. I’d say that steel guitar, as prominent as it is, pushes his music squarely into alt-country territory if not traditional country.
May 18, 2023 @ 9:29 am
I was not familiar with his work prior to seeing them play live but by the time they got to their 3rd song my jaw was on the floor and I was already a fan. I have been listening to their Boat Songs album so much that I feel guilty, like I’m neglecting other new albums but I just can’t stop. It’s the perfect blare at max volume with the windows rolled down album.
I feel like a boner saying this, but taking a deep dive into both his and Wednesday’s work has been like a musical epiphany for me, personally. It’s like the first time I heard Jimi Hendrix or Sarah Shook, like a lightbulb just switched on in my head. Like I’ve been waiting for something that sounds like this my whole life, I just didn’t know it yet.
May 22, 2023 @ 8:14 am
We seem to agree a lot here. Got any other rekommandations?
May 22, 2023 @ 12:28 pm
Recently I’ve also been listening to Esther Rose’s new album, Safe to Run, a ton. It’s definitely not as heavy but it’s so melodic and catchy that I find it getting stuck in my head all the time. Saw her and her band play live a couple weeks ago and it was great, she has a lot of fun and is extremely sweet. I’m not sure I’ve ever seen anyone enjoy being on stage as much as her.
Other than that, lately I also have been listening to the Red Clay Strays’ debut album, The Kernal’s 2022 album Listen to the Blood, Teddy and the Rough Rider’s eponymous debut also from last year, and Ritch Henderson’s first studio album, Fallacies and Four-Letter Words. Also looking forward to the Pink Stones upcoming album.
It’s funny because Ryan from Teddy & the RR put me on to the Kernal as we were talking about country-rock acts at their merch table after a show. That album is exceptional from top to bottom, I really don’t understand how the Kernal doesn’t get brought up more in Americana circles.
I hope you like some of those, I truly appreciate you asking. The music recs I get from other music fans or artists I admire are lightyears better than any algorithm so I would love to hear what you’ve been listening to lately too.
May 18, 2023 @ 9:13 am
Thanks for the rec on this dude. If you like indie rock with a lot of steel guitar, you should check out a band called Futurebirds if you haven’t heard of em already. They got some alt country songs and some pure indie rockers but they’re epic.
Also listen to jeremy pinnell he rips (just country tho)
May 18, 2023 @ 11:42 am
Futurebirds rule. Some might even say they rip…hard. Their song “Rodeo” is one of my favorite songs of the last decade.
May 18, 2023 @ 12:11 pm
I have heard a couple Futurebirds song here and there on playlists, will definitely take a look at more of their stuff. I appreciate you consistently doing the lord’s work of spreading the Jeremy Pinnell gospel
May 17, 2023 @ 3:02 pm
While I agree with Trig that the writing and the project has a very strong mainstream influence I also agree with the comments that holler from the holler is a banger. I’m cautiously optimistic about SWJ for now. I’m more worried about what will happen to CWG, and to a lesser degree Billy Strings, now that they are signed to majors.
May 17, 2023 @ 3:11 pm
Country music don’t need saving, this blog does! I cannot believe there are so many folks commenting about how much they like this! Y’all check out Joshua Ray Walker if you want to hear some great songwriting!
May 17, 2023 @ 3:24 pm
I love JRW, have seen him live, and have been a huge fan since his first record. Am I not allowed to find any merit in an artist with a different sound, influences, or approach? Also, SCM has also given JRW major coverage from the beginning.
May 17, 2023 @ 3:42 pm
Would honestly like to hear from you a few artist recommendations that Trigger has not already covered on this blog (which totally doesn’t need saving). I will definitely check them out!
May 17, 2023 @ 8:33 pm
The albums I am most looking forward to is by Tim Goodin, coming May 26th, and of course Turnpike’s album coming in August!!
I just started really getting into Joshua Ray Walker last fall. We seen him open for Mike and The Moonpies and have been listening ever since!
May 18, 2023 @ 9:11 am
I’m really glad you got into JRW. Seeing him and the Moonpies the same night must have been awesome. Definitely looking forward to the new Turnpike album, as well as the new Marty & the Superlatives album which comes out tomorrow. I will give Tim Goodin a listen.
May 17, 2023 @ 5:26 pm
Oh snap!
May 25, 2023 @ 3:29 pm
So glad you covered him!!!!! For me Stephen Wilson Jr is the best out there!!!!!! A song scientist to be sure – though he may just raddle off 90s one liners he draws them out and frames them in bite size blips that are at once identifiable and string together each pearl makes a lovely necklace.
Love this guy so much I even started a fan page on Facebook (though it’s only me and 4 other people).