Happy Halloween from a much younger vampiric version of me.
Here’s some spooky news: only one song on WHAT WE LOST IN THE FLOOD still needs a bit of work. Aside from that, all I need to do is tidy up some mixes and make sure the track list I’ve sussed out works as well on CD as it does on paper. Then she’s done and ready to be packaged. The album page is a bit of a work in progress right now, but I’m impatient and didn’t want to wait to put something up on the blog’s sidebar until the official release date. A lengthy blog post detailing everything you never wanted to know about the making of the album and the secret messages embedded in all of its songs should be along soon.
The plan was to try and get both FLOOD and YEAR OF THE SLEEPWALK finished before the year’s end. It’s going to be quite the herculean feat if I can pull that off now. This has been a year of two brutal upper respiratory tract infections, each of them robbing me of the ability to do any serious recording for at least a month. If not for the second one, FLOOD would have managed to sneak out into the world sometime in September. Instead, thanks to germs and bronchitis, it’s only wrapping up now.
Assuming I find a way to avoid getting sick again as the colder weather makes its move, there are about sixty days left in 2018. Even if I make use of every one of them, there’s a good chance I’ll come up short.
I think I can get SLEEPWALK most of the way there. I’m going to give it my best shot, anyway. An early 2019 release is nothing to be ashamed of, but I have to say I’m a little disappointed to be looking at that as the most realistic outcome. I’ve always been a big fan of the old one-two punch. A right cross isn’t going to have quite the same impact if it’s following a jab that was thrown last year.
Even at my least inspired, if you told me there would someday be this wide of a gap between solo albums, I would have laughed and said, “Not on your life.”
Of course, there’s no way I could have known I’d find myself making an album involving forty different contributors. I couldn’t have predicted that I’d end up recording so many albums for other people (seven albums in four years may not seem like a lot, but I ended up playing most of the instruments on half of them, and it’s a lot of work taking on the role of both “arranger” and “one-man band of session musicians” when you’re also recording, mixing, and mastering the stuff). And there’s no way I thought I would still be giving occasional baths with the garden hose to an elephant in the room named THE ANGLE OF BEST DISTANCE twelve years after I first started putting it together in my head.
I’m confident the finished albums will justify their long gestation periods, assuming you’ve got the stamina and interest to sit through them. But man, am I looking forward to having something resembling a clean slate when they’re done.