The self-titled album by Greg Mendez is jam-packed with poetic pictures that sound both precisely plotted and casually indiscriminately stitched together like fragmented stills from a life tale. The musical progression of this song shifts from dreamy to chaotic to calm, but the lyrical imagery seems to bleed through at random, much like a cloud of smoke at a concert that rises from the audience and drifts past the stage light before disappearing into the night. In "Hoping You're Doing Okay," a passage about the chance of finding a buddy in the obituaries may capture you on first listen, but after 10 listens, you could become caught on the "tool in a shed." This fleeting feel to the album encourages repeated replays.
Although Greg Mendez's third full album is neither an introduction nor the radical redefinition anticipated from a self-titled release, it is still defined as a starting point for his extensive and gratifying history. Although new listeners are likely to hear them pulling from comparable wells, he is more of Alex G's peer than progeny after spending 15 years kicking around Philadelphia's DIY scene. With its frantic, unspooling tune that is often performed on a lead guitar rather than a human vocal and the tense contrast between pleasant listening atmosphere and deplorable filth, "Maria" may be mistaken for a bonus track on the Trick re-release. Contrary to the shabby reporting on Alex G's "Hope" or "County," Mendez is both the storyteller and the topic in this instance..

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