"Profitandloss" is Nerdkween's sophmore album which features seven new songs.
Here is what others had to write about Nerdkween:
"Surrounding herself with what I'm going to call "seriously analogue looping mechanisms" (actually tiny, portable boomboxes) she used to create walls of ambient sound, Nerdkween matched jaw-dropping white-noise soundscapes with lo-fidelity acoustic songs, all seemingly themed on the concept of moving and searching for...something. Doesn't matter-I, literally, found myself with my head back, eyes closed, utterly lost in her sonic world." - Resonator Magazine
"When I'm asked about "who my favorite Atlanta bands are", my list almost inevitable includes the enigmatic Nerdkween. Those conversations usually end with me saying something along the lines of "you've got to see her live to understand...". In a city which showcases so much exceptional indie, country, hip-hop, blues, and rock music; Nerdkween manages to be all of those things, yet none of them at the same time." - Matt Jarrard / Atlanta A List
"We have heard many sparse and simple artists over the past few decades...but rarely have we heard an artist as stark and naked as Atlanta, Georgia's Nerdkween. Whereas nowadays in the twenty-first century the usual idea is to inundate the listener with layers upon layers of digital multi-tracking...this young lady instead takes the exact opposite approach. Hearing this, the only possible comparisons that come to mind are Nico and Lisa Germano...mainly because all three share a strange, ultra-serious sound that is somehow distant yet profound." - Babysue
"The second full-length release from Atlanta, Georgia's Nerdkween. We were impressed by this young lady's debut album because it lacked the unnecessarily busy sound of most twenty-first century music. Thankfully, Monica Arrington (the lady who is Nerdkween) has chosen the same basic approach for her second album...and it ends up being just as intriguing and engaging as the first. ProfitandLoss begins with the strange and eerie sounds of "Catalyst"...before she strips the sound down even further to present the compelling and simple "Let Me Go" (a wonderfully addictive tune that is deceptively simple). So many modern artists hide behind technology. Arrington seems determined to force listeners to accept her based on her songwriting skills and lyrics alone...both of which obviously take center stage on her albums. Another favorite here is "Bird Twitters" which includes the background sound of what may be a movie projector running in the background (?!?). The more we hear, the more Nerdkween impresses us. Top pick." - Babysue (5/5)
"Neither a nerd nor (strictly speaking) a 'kween', a certain Monica Arrington is the woman behind this sound. What the sound is, though, is a little hard to figure, as its boundaries are as wide as America. Consider opener "Catalyst", an atmospheric montage of unfocussed voices, electronic noise pop and wistful yearning, whilst the following "Let Me Go" has little girl vocals, all innocence and loss. They hardly belong on the same album, and yet somehow following tracks blend electronics, folk and indie pop, thus joining these two disparate pillars that support this most likeable of albums.
These tracks thrive on creating an atmosphere of uncertainty, the listener not knowing quite where the next bit is going, which adds an exciting edge to the proceedings. "Drown" is a good example of this approach, with Monica's solo voice, then quiet electric guitar joining in - the whole thing stalls, and then the guitar rings out, which finally pushes her vocals all the way, to a superb and satisfying climax. It is the standout track, although it is pushed all the way by the closer "...a year of the Dragon", and the earlier "Such Grace", both with billowing clouds of the aforesaid atmosphere, disguising her songs and drenching the melodies. Utterly gorgeous, totally engrossing, this is a weird but amazing musical journey." Kev A. (Leicester Bangs)
"Folk music and electronic sounds are typically not the most obvious bedfellows.
But when it comes to Atlanta's Nerdkween, banjos and keyboards not only oexist, but do so in a surprisingly coherent manner. The brainchild of Monica Arrington, Nerdkween is an experiment in ambient dream pop. "Profitandloss", the follow up to 2008's "Synergy" , is lyrically steeped in heartache as keyboards, strings and samples swirl and drone in the background. From the lulling synths and soothingly sweet vocals of songs like 'Catalyst' and
'Such Grace' to the island luau-inspired banjo plucking and cooing of 'Bird Twitters', "Profitandloss" comfortably meshes two otherwise divergent sounds. Album closer '...a year of the Dragon' is indicative of Arrington's ability to innocuously blend unlikely sounds. A swell of radio static progresses into an '80s hip-hop-meets'90s darkwave bass line, concluding with samples of what sounds like a sitar solo. It sounds crazy, yet somehow it all makes sense when Nerdkween does it." Jonathan Williams / Georgia Music