"Finishing an album is a whirlwind. Last minute changes, last minute songs, last minute mixes... it's not done until you get it back from the mastering plant, and even then there might be problems... as there was with this one! Everything gets worked out in the end, but you have to learn to let go and be content with what you have before you. The alternative is...well... toiling incessantly, nitpicking excessively, and finding any excuse not to finish. At some point you have to say "enough! there's always the next one..."

I'm still too close to the record to give a balanced overview, but I will say that I'm fairly happy with most of it. It feels like the realization of something I've been pursuing for far too long and finally a sound I'd like to grow from and develop further. It's unabashedly melodic, and probably more so than any record I've done, which sounds funny to say. What I mean is that most of the musical parts are comprised of melody lines rather than sound effects or dischordant electronic textures, which is an idea I've never consciously pursued to this extent because I really like texturing. It reminds me of some of the early songs and it's hard to believe that it took me this long to be able to make an entire record in the manner with which this one was made. The question always comes back to: will anyone notice or care about the confounded method? Of course not, but for me it's about establishing my own set of challenges and then trying to accomplish them...however long it takes. Breathe out now, Ronnie, breathe out...."

1. Victorian Intuition / Father Winter Replies
2. Rudimentary Animation
3. Draw for Me, M.C. Escher
4. Four Gone Pierre (or What Electricity Made)
5. The First Time I Loved Her it Was Here
6. I Recall the Telephone Booth
7. On Being Principally Utopian
8. Whether By Horse, or Horseless
9. Only Copernicus
10. Prelude to Cubism
11. My Grandfather, the Cubist
12. Cubism Interlude

 

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