“...Can you hear the angular melodic twists?”
“That’s what death sounds like, I know... It’s like a leitmotif; it keeps coming back to my mind.”
The musical motifs that run throughout this entire album represent several core themes of humanity’s journey as observed through the eyes of our main character, Teaston; the most persistent motif being that for Death. It is laid plain in the track, “I Know What Death Sounds Like,” but also weaves its way throughout The Olive Woman and Lucio’s themes in “Faces in Foam,” as they must face death in their own ways. This persistent theme makes appearances as well in “The Elusive Everyman and Her Majesty” -- the track representing, in musical allegory, Teaston’s struggle with the Whiteness, when his thoughts are chaotic and disjointed, and simply will not leave him be. Thus, a host of distinct motifs from across the entire album make their appearances in this track, one on top of the other, vying for attention until they at last culminate into the blinding whiteness of white noise. “Phillipy [also] is Fragmented,” as can be heard clearly in this track: the rhythms fit with clockwork precision (hear Phillipy “knock three times”), and musical phrases lead meticulously from one thought to the next. However, in the end, Phillipy cannot escape the call of the Cliff, and, with a wistful sigh from the strings, he succumbs to the foam below. “Sweet Camila” remains Teaston’s one light of hope and strength, and, accordingly, her theme is enduringly innocent and carefree. However, when Teaston reaches the end of his patience with life’s idiosyncrasies, “Solitude’s Hypocrisy” takes the themes of Phillipy and Camila -- two of Teaston’s most meaningful companions -- and weaves them into a solemn lament, for, as Teaston grieves, “The ever-shifting world throws me into a lonely corner when I need someone. And when I crave solitude, my skull lets everybody into my mind.” “Born of Everyman” expresses the search for oneself, and it is not until Teaston merges with the water in “I Am Water” that he finds wholeness at last.
released November 7, 2014
RECORDING, MIXING, & ENGINEERING
Recorded on location at The Master’s College in Santa Clarita, CA, with the exception of Track 3, which was recorded at Grace Baptist Church in Santa Clarita, CA.
Darrell Peries (concertmaster)
Lainey Elizabeth White
James Taylor (principal)
Cathy Alonzo (principal)
Sharon A. Ray
Jenna Ford (principal)
Jay Rubottom (principal)
Keith Buerger (principal)
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