To celebrate the release of Slim Twig's new album Thank You For Stickin' With Twig - which is out now on DFA Records and up for order on limited edition gold vinyl over here (yes, gold vinyl) - we asked Mr. Twig himself to provide us with a handy track-by-track guide, which is made even more special by the fact you can stream it below whilst reading his commentary. What a world.

'Slippin' Slidin'':
This song was meant to function as the ignition of the album. You can hear at the beginning of the track, the machine starts its motion. Thematically it's about the idea of empowerment through submission, as seen through a sexual prism. A perverse way to lead off what I see as an abstracted sort of protest album.

'A Woman's Touch (It's No Coincidence)':
A song written in tribute to the plight of the Beatles wives. I wanted to have a feminist anthem on the record. The U.S. Girl co-wrote this song with me with that notion in mind. I like the idea of subverting such a traditional influence. It seems like the content of many pop songs is based on musical ideas stolen from the Beatles. What about stealing their lives as the subject of a song instead?

'She Stickin' With Twig':
On my classical music shit.

'Textiles On Mainstreet':
Your typical fuzzy ballad on wage inequality.

'Stone Rollin' (Musical Emotion)':
Another co-write, this time with my friend Tim Westberg. A song about the power of music (among other things).

'Roll Red Roll (Song For Steubenville)':
A sort of a sonic poem depicting the terrible Steubenville sexual abuse case of a couple years back. 'Roll Red Roll' is a football chant in Steubenville.

'You Got Me Goin'...':
Just a flow piece. Something to give the album its dynamic of movement. A submerged version of the Chi Lite's classic 'Stoned Out Of My Mind'. Check it out.

'Fog Of Sex (N.S.I.S)':
I've come to a point in my life where I've realized that my general perspective is that of the anti-fundamentalist. I can be convinced of almost any argument (and its counter-argument) with enough persuasion. I'm not committed to any sound, or position or morality. With this in mind, I wanted to write a song from the perspective of someone unsure of which gender they would be best suited committing to. Meg Remy, the U.S. Girl co-writes here as well.

'Fadeout Killer':
This was actually the first song I made for the album. I was floundering for a bit of a direction, and this gave me a real focus. I wanted to approach the production of the album with this sort of 45 single on 33rpm, blunted quality after making this first tune.

'Trip Thru Bells':
On my guitar shit.

'...Out Of My Mind':
More flow. Linking the A to B side.

'Live In, Live On Your Era':
A song about embracing your era, its challenges and its benefits equally. A bit of an in-joke as I wanted to write a song about my frustration with contemporary musicians raiding the past without adding their own spices to the mix, all the while sounding like Led Zeppelin.

My own arrangement of papa Gainsbourg's classic composition. A cosmic I.O.U thanking the man for all he's done for me. My last album operated within the shadow of SG's influence, and ended up being the music that kickstarted a new adult era of Twig music. It felt fitting to extend the conversation to this next album.