Did you know that dragonflies live most of their lives underwater in nymph form, breathing through gills in their rectums, and have the ability to “rapidly propel themselves by suddenly expelling water through the anus”? I didn’t know this. Thank you, Wikipedia, for enriching my life on Easter Sunday.
On that note, here is a picture of an evil rubber ducky.
That new album is very close to being finished. As of today, all the songs I wanted/needed to get down have been recorded. About three quarters of them are already mixed and CD-ready. I need to add some more wallpaper to a few, mix a few, figure out how to sequence the whole thing (that part was so much simpler back when I made shorter albums), and then all that’s left to do is make a lot of copies and take care of the packaging business. I’m going to be tentatively optimistic and say I might be able to start spreading it around sometime next week.
I’ll be surprised if the response is anywhere near as positive as it’s been with the last two albums. I think this one is a denser, less accessible, less inviting affair. But I said that last time, and I seemed to be the only person who felt that way about AN ABSENCE OF SWAY, so I could be way off the mark. Expect a proper album page to show up on the sidebar in the next little bit, complete with lyrics, an overview of the whole thing, and all that exciting stuff.
I always find it interesting how when you’re just about finished something a curve ball or three will come out of left field and add a little extra unexpected seasoning. Or at least that’s what seems to happen to me quite a bit. It happened with “Fidget” back on the NOSTALGIA-TRIGGERING MECHANISM EP. It happened with “The Ass, Enchanted with the Sound” on the last album. And today it happened with three different songs. One of them features a midsection that lurches around in a demented way, with some singing that’s the closest I’ve come to my once-celebrated (by me and the woodland creatures who were lucky enough to hear it before my throat forced me to retire) Tom Waits impression in something like ten years. One was planned as something fairly epic until I decided just to keep it as the fragment it is at the moment and let it remain a little uncertain of where it wants to go. And the most surprising song is somehow at once one of the nastiest, most venomous songs on the album, and maybe the catchiest, most rhythmic thing I’ve done since whenever it was that I last did something surprisingly catchy and uptempo. It didn’t exist at all until I started playing this propulsive Bo Diddley/John Mayall-inspired guitar/harmonica vamp yesterday. Now it might end up being one of my favourite songs on the album. It also features more nasty words than the rest of the songs combined, which I think is a pretty strong selling point.
Songs are funny things, I tell you.