Word: songfulness
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...favorite song on there is "Good Intentions Paving Co." but it feels a little bit poppier than your other work. Actually, a lot of the album does. I think part of it was a reaction to the previous record, Ys. The experience of making Ys was quite intense and formal for me. I paid such close attention to every tiny little detail - the syntax, the lyrics, the distribution of syllabic entropies, the interior and exterior rhyme patterns - there was a lot of activity and it felt a little frenetic. When I was done with it all, I was pretty tired...
...self-produced this album, but you worked very closely with Ryan Francesconi, who arranged the songs, and Neal Morgan who did the percussion. How much input did they have? They were there from the beginning. Ryan and Neal came to my house and we crawled through the songs bar by bar. We talked a lot about meaning and mood and thematic stuff, going into some awkward realms of discussions. I find it awkward to talk about song meaning. The way we got around that awkwardness was for Ryan to interview me. Somewhere he must have some very incriminating piles...
...awesome musician. Check out this song I wrote...about Tufts!" Believe it or not, a surprising amount of people decided to sing about Tufts, though some were slightly better than others...
...troubling, and made obvious right from the start. The very first words of opener “Gray Death”—“Beat, beat me to death”—quickly establishes the album’s grim mood. The most biting song on the album, “Chocolate Makes You Happy,” is also one of the most surprising. Neither its title nor its relatively simple melody hints at its lyrical perversity: “Chocolate makes you happy / And it keeps you awake / As you unbutton your...
...foot-tapping rhythms of the title track demonstrate, “Dear God, I Hate Myself,” continues the band’s habit of making songs that shout and lament over a din of schizophrenic, yet somehow coherent compositions. But the band also continues to experiment, as on the song “Cumberland Gap,” where the twanging of a banjo surprises listeners as it accompanies Stewart’s vocals, both moving over the same notes in unison. The song is a reworking of a famous folk tune named for a pass...