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It was here that he began the bulk of the work on Half Mirror, imbuing his music with the qualities of his environment almost by necessity. At night he would spend his time building homemade synths and writing songs. In 2011, O’Connell’s interest in electronics and engineering led him to Asheville, NC, where he worked for Moog Music calibrating and building synthesizers, and testing vintage analog delay chips by day. There are elements mined from his Indiana childhood spent obsessively practicing metal drumming and recording on 4-tracks with his brothers Joe (of Elephant Micah, on whose recent album Vague Tidings Matthew also played) and Greg years playing in Louisville, KY, punk and hardcore bands, when he also first began writing songs (some of which are included on Half Mirror) and time studying math at an intensive college program in Hungary, where he continued writing song fragments and fiddling with musical electronics at the Kitchen Budapest-a collective of artists, theorists, and coders. While the album directly reflects back on memories and experiences from O’Connell’s 20s, Half Mirror is also steeped in earlier formative years. O’Connell’s own story is just as captivatingly segmented, and he crafted the personal, cathartic, and at times confessional Half Mirror over the course of a decade. Tracked at home in the mountains of North Carolina using a vintage tape delay, electric guitar, and a homemade synthesizer he named ‘Balsam,’ the album is at once a lonesome push-pull of electronics humanized by folk elements, and folk music made alien by electronic adornments. On Half Mirror, O’Connell superimposes warm analog synths onto self-described “confessional folk” with a simultaneously cosmic and earthly outcome.