Lucien Richter spent a lot of time as a youngster trying to reconcile various aspects of his musical fandom. How does one go about paying homage to Tom Waits and Lloyd Cole at the same time? What about the Jesus and Mary Chain and Traffic? It’s not easy, I’ll tell you that much, but he should have persisted; he might have really got somewhere. Instead he decided to try to sound exactly like the Church, only to fail comprehensively. So where does that leave Mid-State Orange, then? Well, despite his puritan proclivities and strictly monochrome musical personality, the group somehow achieved a kind of polyglot, multi-generic (rather than trans-generic) kind of pop music. Over various recordings; the self-titled, self-released debut demo album; the first two EPs; split singles; random tracks; a compilation of some of said meanderings and a final debut record proper, “Odds,” Mid-State managed to almost completely bury themselves in melody, counter melody, white noise, and rhythm, embracing all things jangly, but peppering them with droney organs, synthesizers, odd rhythms, drum machines, strings, highly unprofessional singing and guitars, guitars, guitars. Noise guitars, jazz-weirdo guitars, country guitars…whatever seems right to make something catchy out of something bizarre or something beautiful out of something a little bit stupid. The line-up has changed many times, in efforts to achieve, and subsequently abandon, their renownedly chaotic and visceral live set. They’re recording new stuff at the moment, maybe right now, while you’re reading this. In the mean time, go and do something useful. Maybe get yourself a copy of “Odds.” It’d really help them out.