Aaron Ross has been a force for eclecticism since his time with math rock band Hella (with Zach Hill of Deathgrips and Spencer Seim of sBACH and The Advantage), and his solo trajectory has reflected a constant drive for innovation since his first release, The Hallelujah Side in 2003. His musical path is almost schizophrenic in its complexity, uncompromising innovation, and drive to involve more nuance, layers and mystery with each successive release. But the man himself has eschewed the spotlight to some extent. Impose Magazine calls him ‘bugged out in a backwoods way [...]’ with The Fader magazine describing Aaron Ross as “thrillingly unpredictable”. Indeed his catalog vacillates in and out of the deeply organic blues-folk of the Sierra Foothills, and the very synthetic, playful and even absurd, here reminiscent of Mick Jagger, there warbling esoteric in the vein of fellow Nevada City native Joanna Newsom.