When the idea of a full-length album comes up, the two both admit that it feels like uncharted territory. Their EPs were simple, eponymous exercises; this record will require more intention—a statement that extends beyond the music itself. They’ve even decided they’ll be on the cover this time, a way of placing themselves inside the world that they’re building. “We’re still trying to figure out the landscape and how the songs relate to each other,” Dorsey says.

“I always want our music to feel very packed with a visual,” Epstein adds, “Even if we don’t have a music video, I want people to imagine something.” Dorsey nods, reflecting on how their collaboration shapes that vision: “Graham is just such a true artist and studier of culture. That was really intimidating to me at first because my bank of references is much more limited. But he’s taught me to be more confident in my ideas—it almost feels like we’re kids building LEGO or something. ‘Do you like this?’ ‘Do you like that?’” This iterative, stack-and-click process makes the impending body of work feel less like a blueprint and more like a mutating biome, one they’re still settling into.

The duo’s fascination with physical and virtual landscapes bleeds directly into their music, turning each track into its own microcosm. Epstein cites Endless Ocean, a scuba-diving game with a hypnotic, meditative energy, as a touchstone. “It has this weird energy to it,” he says, his voice carrying the same wonder that frequently surfaces in the EP. Antarctica also looms large in their imagination. “Something about those landscapes and just pure nature is really sick to me,” Epstein says, while Dorsey can’t help but remind him: “He’s been to Antarctica!”

Then there’s “Baroque,” one of the EP’s more polarizing tracks, named after the equally enigmatic video game. “We were watching a lot of gameplay while writing it, it was pretty magical,” Epstein recalls. Dorsey adds, “Writing the lyrics was also really easy; there’s one or two lines in it that were literally lines that the characters say.” In this way, even the tracks that feel the most removed from the rest of the EP remain part of the same, ever-changing world—small pockets of curiosity and strangeness within the broader universe they’re building.

What began as a slightly ridiculous idea—Epstein laughing, “Originally, we wanted to sound like Hilary Duff with crazier aesthetics”—has somehow grown into a sound that is impossibly specific yet effortlessly expansive. It’s everything they like at once, filtered through a shared obsession with texture, place, and the strange little sparks that make music resonate. “Nostalgia for a time that didn’t exist,” Epstein calls it, and it’s hard to argue: they’re not simply navigating past or future—they’re inventing a kind of temporal fold where memory and pure imagination coalesce. Dust off the old Playstation, or just close your eyes—After will get you there either way.