'Fall and Response' - Individual Song Breakdowns ____________________________________________________________ Individual Song Breakdowns “The Mercurial” (drum transcription, percussion overdub transcription) The EP opens with the verse groove, heavily processed (the end of ‘Midnight Acolyte’). Composition for this one grew out of said groove, which shifts between 4-4 and 9-8, or 17-8 in total. The pre-choruses are all in 11-8 with vocal melodies—both scatted and lyrical—matching the sax figures. After so much syncopation and general complexity, I wanted the chorus to stand out via simplicity. So, where do you go from there for the bridge? You punch harder into the complexity! Featuring absurdly weird guitar licks, played with aplomb by Adam, and a ‘shrink and grow’ (thanks, Dream Theater) arrangement concept, the only thing that changes once the section ‘re-grows’ are the drum parts. The outro remains in the same time sigs as the verse, with different vocal hooks creeping in, and the drums anchoring the whole thing polymetrically in 4-4. Vocally, this section was influenced by the outro of “God Only Knows” by the Beach Boys. I’ve a vivid memory of working on this tune while sitting on a porch with the person whom it is about. I felt like I was actively betraying them doing so, but also felt that the demise of our relationship was probably inevitable. Lyrics: (Verse) Sonorous Had a chance and blew it, like every time I’m your worldview, caught up in every line Maybe this is meant to pass, miasma blind Thought you knew my type (Pre-chorus) Take some time and think about us and you’ll find that we’re not us (Chorus) What’s in your heart will follow your hand And is it paramount that I’m not around (Verse) There is only so much forgiveness to offer up Clearly this love is set to fail, miasma blind Fed up with every line (Pre-chorus) Every other week and I’m so tired Why can’t you just drop it Hypocritical serpent, my obstacle I don’t think we’re quite yet over At least while I’m not sober (Repeat Chorus) (Pre-chorus) Took some time to think about her Mendacious mercurial blather (Chorus) What’s in your heart will follow your hand And is it paramount that I’m not around What’s in your heart will follow your hand And it is paramount that i’m not around (Outro) Had a chance and blew it, like every time I’m your worldview, caught up in every line (repeats) We’re not gonna make it (repeats) It’s paramount I’m not (repeats) Not around forever (repeats) ____________________________________________________________ “Catch a Ride” (drum transcription) As mentioned in the ‘About the EP’ section, I started composing this during a layover. However, I am pretty sure that the chorus vocal hook had revealed itself to me or month or so prior. Full songs becoming fleshed out as an outcropping of a vocal hook is now pretty common for me, but this may have been the first instance, now that I’m thinking about it. I have a faint recollection of progressing to the entrance of the violin, or perhaps a bit further—maybe the chorus—before knocking off and preparing a makeshift terminal bed, heh. The bridge for this one is quite complex. I was worried that the guitar during the chorus turned out sounding too dissonant, but ended up loving it. Lyrics: (Verse) Cheers, my friend the dead Estranged in black Go and pour your hands into the fountain (Chorus) Catch a ride, come and stop on over (Verse) I want you to know I care for you Your self-destruction makes me feel useless I see you once a Spring in a bar, loathing One mile down, love is found A place you’ve been (Chorus) Catch a ride, come and stop on over As long as I’ve got time, you’re on my mind Come and stop on over, over ____________________________________________________________ “A Mind Groomed Callously” (drum transcription) ‘Mind’ grew out of my ancient song “Pixieprog”. I had my pal Gabriel Riccio transcribe the bass from the B section, because I couldn’t remember how I played it, and built the tune around that. I even kept a lot of the old, crazy drum fill-ins. The bridge stemmed from a drum groove that I stumbled onto during band practice. My inspiration for re-using the bit from “Pixieprog” is because a Mike Patton-esque ‘vocalism’ (I am hesitant to call it a hook) crept into my head with that bass line in particular supporting it. Even during vocal tracking, I felt like I was still chasing the sound in my head. But I’m happy with what came out, with Gabe and Sacha’s aid, of course. Lyrics: (Verse) He sits on the floor thinking, “Might I sleep?” Locked far away are mistakes and I am (Pre-chorus) Unforgivable, my creation hurled Silent conversation passes through the world (Chorus) In here, in here, in here In here, in here, in here This time won’t be different (Verse) It may not take a lot of time but it takes effort This soul is not for sale, and I am (Pre-chorus) Unforgivable, my work is undone (Chorus) In here, in here, in here In here, in here, in here I’ll smash your courage (Bridge) Perfection is the most, most alluring illusion With all the embroilment going around you’d expect a prize I’ll take the limelight I’m sick of the gutter Year after year stretching into another Self-entitlement is a blight on art’s dull shine Technology caught up to your hate Stop the product Internet lavishes you with praise The effect: it dissolves posthaste While your self-esteem crumbles by day, staggering away Vanity abounds, full stride Your creative kind stymies mine (Pre-chorus) Flick the switch once and results will come fanned The vision belongs to you, the execution to us (Chorus) In here, in here, in here We’re near, we’re near, we’re near It’s just business Solitude rust ____________________________________________________________ “Now My Woes End” (drum transcription, percussion overdub transcription) The piano lick/sequence in the intro is a fragment that I wrote many years prior and had never expanded upon. I always wanted to do something with it. I don’t recall how everything else came together, but I’m really proud of this one. The vocal harmonies in the verses gradually illustrate the title, word-by-word. The outro is inspired by the outro of “You Got Me” by The Roots, which has a similar concept (chill, laidback song that eventually fades out with drum ’n’ bass drumming, played by a real drummer). This tune was my first instance working with Jay Bratten, and what consequently prompted me to tap him again for the ‘Delectable Machinery’ record. I had the basic bass lines in place, but told him to spread out whenever he wanted; he made the choruses magical. I also comped some great lines in the last chorus that Ben played in alternate takes. Lyrics: (Verse) Sometimes I think better things are not meant for me The coldest Winter I’ve seen Now I’m all alone, distorted thoughts pervading From the time your remains were ash and shelved away by your creed My troubles crystallized quickly (Pre-chorus) Still believe that you’re here And I know the price of fear (Chorus) Life is a sham All this work and what does it even signify Love is a scam All these nerves and in time they’ll leave us behind (Verse) The hero had quietly brightened up the room Now he’s gone into the vacuum Woes: three months later she had left me too Better for you(?) Claimed that I had treated her like poisonous fruit Well you watered me down to no end Stifling pressure has contused (Pre-chorus) Sometimes I think bigger things are not meant for me (Chorus) Life is a sham All this work and what does it even signify Love is a scam All these nerves and in time they’ll leave us behind Still I stand here, all these worries All this work and nerves make it clear Perseverance knows no fear ____________________________________________________________ “Rewilded” Generally, there are two stages of mixing for me: the first stage consists of tracking/editing/mixing drums in a fresh session, and whatever else I am committed to for the project (bass, synth production, etc.). I’ll bounce stems of all of that stuff to consolidate the mess and start a new session - this is the main mix. I believe it was during this process—when I was setting up the main mixes—that the idea to append a piece to ‘Woes’ came to me. I figured I could probably build something substantial utilizing only tracks that were done specifically for the EP (I conducted this very same experiment with a song called “Susurrant Plangency” on ‘Projects III’). After tracking vocals, I started digging into the main mixes. I’m always working on multiple projects and while mixing this, I was writing lyrics for ‘self-titled’, the record that will follow. I wrote the lines that comprise “Rewilded” as part of a chorus in a song on s/t. I was partial to them not only for the content, but also because they contain a quote from ‘Projects III’; altogether they make for solid connective tissue for this entire second mini-oeuvre. So one night, I went to work literally building the song, layer by layer. After I had the backwards piano and drum groove solidified, it all fell into place quickly. I did 8 or so takes of the vocal, varying it slightly each time, and comped it together. I get tunnel vision very easily, but when I was tracking it felt more intense: it felt like I was meant to be right there, tracking that song. And I can’t imagine a better segue between ‘Woes’ and the intensity that launches “L.A. Stranger”. Lyrics: I wanna run through an empire view I wanna run through fields of gelid glue ____________________________________________________________ “L.A. Stranger” (drum transcription) By far the most abrasive and complex of the EP, and another prime example of my benefitting to wait and further develop my vocal skill set. I literally did not know how to make some of these noises until a couple months prior to vocal tracking. The recurring drum fill is nicked all the way back from “Project 15”, and is later looped to form an intense yet hypnotic groove in the bridge. The shattering glass sample at the beginning is from the mirror that I broke for the ‘Silly String II’ session. I’ve gotten some miles out of that thing! Really proud of the sound design and production in general on this one. The visual that I get of the ending is one of a giant having its achilles tendon sliced and eventually falling down. Lyrics: (Verse) I wrote this song to you for I May never see your face again It’s been two months since I’ve touched you Perpetual ball of tension in my chest (Chorus) Destroy, destroy you all Fixate on you My efforts unleashed I built you up, put a frame around taste You threw us away, alone (Verse) Bathed in white lights, discordant sheets Of noise, she’s an essential toy In black tights, I hope that city Eats you alive, finality (Chorus) These days more than ever I question if it’s worth the effort I wrote this song to you Because I will never see your face again (Bridge) The last three years of my life, to your body they are stuck My insecurities assured from the start we were fucked You’ll never meet a motherfucker like me I hope it stings Take off that ring My worst intent Don’t have the time For my own head My lone regret I said goodbye Alone ____________________________________________________________ “Flophouse” (drum transcription) I am not sure what inspired this piece, aside from formulating something to segue from this EP to the s/t record (the big chord that ends this is the same that begins s/t). I might have been listening to some Gershwin at the time, which was prompted by reading Brian Wilson’s autobiography. Anyway, this turned out pretty cool! Sophia jested about her part reminding her of some of the unplayable pieces by Nancarrow or Ligeti - sure, I’ll take that company! Gabe, my perennial talent scout, suggested Thymme for the trumpet tracking. I told Ben to do a few passes of the second half so that I had comping options. Beautiful playing. When this EP was on deck, it started on a few sour notes. The drum mix was from an old setup/template and the vocal pre-pro that I did prior to tracking with Gabe and Sacha was pretty underwhelming (although better, at least melodically, than ‘Midnight’s’). The lyrical content in itself was also challenging to approach, since it was largely centered around events in my life that transpired years ago. I had to change a few lyrics and I’d look at photos taken from around that period in an attempt to transport my psyche and channel those emotions. I feel elated to have pushed through the consideration of abandoning it. Thanks for reading.

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