In the spring of 2010, life changed overnight for Will Wiesenfeld. The San Fernando Valley native had recently rechristened himself Baths after a series of largely unheard bedroom experiments under the name [Post-foetus]. Barely old enough to drink, the angelic dancefloor confessionals from his debut, Cerulean suddenly made him one of the most celebrated new artists in electronic music. Critical acclaim and underground fame ensued. But rather than drown in the predictable clichés of drug abuse or chasing pop stardom, Wiesenfeld redoubled his pursuit of the perfect song. It was the mixtape era and Wiesenfeld was recording like Lil Wayne in his prime. During the months between Cerulean and his national tour the next year, 13 new Baths songs emerged from the miasma. They were compiled on the first volume of Pop Music/False B-Sides, which was originally a tour-only digital download and sold in person in shows as a printout on card stock. This was a home for all the weird outliers, the misfit slappers and shimmering fugues that had nowhere to go. Smashed together they could have their own home to seamlessly coexist. The title was a direct interpretation of Wiesenfeld’s emotional relationship to these songs: both held at arm's length, but also a cohesive and clarion body of work.