Wednesday, January 27, 2010

The eidolon of irony

Track Analysis:
Untitled (Transition 1)

The lack of any proper title for this track could partly be called in evidence of its inclusion on the album proving somewhat of an afterthought, although seeing as the piece was originally intended as a crescendoed end to In the Old Attic ... such a statement wouldn't be wholly true.

'Twas indeed the last track recorded, however.
And was done so mostly as an afterthought ...

Still, relegation to it occurring as a mere clumsy addition is perhaps unjustified.

Though on most counts such a description is accurate.

In fact, initially mooted for this album was the idea of making extensive use of the classical guitar, although for whatever reason this notion was heavily bypassed, and here we are bared (and perhaps spared) to its only instance.

All manner of excuses can of course be guided along the plank under the false(death)hood of viable reason but, when push eventually came to shove, they all deserved to serve as equal ballast.

And all continue (on some level) to weigh the track down even now ...

Here be thy list and thy shameless scapegoat!
  • Nylon slippage due to inadequate half hitch knots (researched)
  • Inconveniently short but well-manicured fingernails (grown out)
  • Atrocious technique due to a flailing 4th finger (fixed by sellotaping it to my 3rd finger and trained to perform otherwise!)
  • Behold the power of the mighty Ashton CG-44 (and I, The Ashton Butcher!)
  • The lack of a church (still in abundant evidence)


So more than anything it’s a song of ghosts.

And a vague attempt to exorcise them.