Now that the album has been out for a week or so, I thought I’d give some insight into the songs and the production of this particular album. This particular album was the most difficult one to make so far; I spent most of last summer just not recording anything, and then when I started actually writing and recording songs again, it was damned difficult to get recordings I was happy with. All that aside, let’s go song by song and see what there is to see.

“Teapot Apocalypse”: A simple song, and one that I got recorded fairly quick. I do love the chord progression for this one, and the idea of the teapot apocalypse is one I’ve played with before (in a Kraken Vacuum song called “Release the Kraken!”).

“That Human Touch”: I recorded two versions of this song accidentally. The first version was too rough and I didn’t care for the guitar tones I came up with. I didn’t intend to re-record it, but I’d forgotten I’d done the first version and sat down and did a significantly better take the second time around. My brother added the synth horns in post-production, and I rather enjoy them, goofy as they may be.

“Honest Misery (Acoustic)”: The first of two all-acoustic songs on the record, both of which have fuller versions as well. Why did I do that? I dunno, it seemed like a good idea at the time. This was always a very simple song, and I still really like this version of it. I’m not 100% sold on the idea that the “full band” version really adds all that much, but you can be the judge.

“¡Tierra Del Fuego!”: This song started out as an instrumental many, many years ago. I finally put some lyrics to the song late last year, and it’s a fun song to play. I am rather sad that the choral “aaahs” that I originally put in it didn’t make it into the final mix.

“To the Ones Who Go Before (Elegy)”: This is the song that broke me. I wrote it last April after my uncle suddenly passed away. He was the great musician in the family, the guy who was in a half dozen bands and could play the hell out of the guitar. We turned to him for advice and feedback and the occasional guitar solo (he played the solo on my song “This Town Ain’t Big Enough” back on that first EP). I tried no fewer than three times to record this song, and gave up on all but the last version. Things just…didn’t click. The vocals weren’t right, or the guitar wasn’t right, or something felt wrong. I finally managed to get a good version put together late last year, and the final piece was hiring a guy off of SoundBetter (a website for professional musicians and musician-adjacent folks) to play the saxophone solo over the end of the song. I’m still waiting for my dad to record vocals for the second verse so I can release another version of the song featuring family members. We’ll see when or if that happens.

“Flicker and Spark”: I don’t generally write traditional love songs. It’s just not in my wheelhouse. But this one turned out alright, I think. I’m particularly proud of the little guitar riff at the end, simple as it may be.

“Honest Misery (Dishonest Version)”: Here’s the “full band” version of the song. I had some weirder guitar parts in there, but Clyde took them out. It’s probably for the best. Again, I’m still not really sure this version particularly adds anything that the original acoustic version was really lacking, but it’s still not bad.

“Here’s To Dyin'”: I wanted to write a John Prine song. Did I accomplish that? Probably not. Would it make him proud? I like to think so.

“The Last of the True Believers”: A song written entirely for the piano. This one took a couple of different attempts to get right, what with the change of pace between the verse and the chorus. I’m really proud of the guitar work in this one, even if there’s no acoustic guitar in this song (which is weird for me).

“When I Say Your Name, Only Silence Answers”: I wrote this one trying to write a Lord Huron song. I don’t think there’s enough reverb on the final product for it to qualify, but I still dig the final result.

“To the Ones Who Go Before (Acoustic)”: For a while, I thought about just having this version of the song and not the “full band” version. I was so frustrated with how progress on that version was going and just recorded this one instead. I still like it, and it makes a nice end song for the album. Clyde recommended I put this one here, and I’m glad he did.