So, yeah, i keep telling people that i’ve written a whole new album in the space between “hold on me” and today (the latter being referred to lovingly by Hillary as “the creepy fingers song”). Now, i don’t honestly think that i’ve got some masterpiece on my hands, but it’s almost like a signpost indicating forward movement when you have enough fresh material to record again, even if you don’t like all of it. The first time i managed to write twelve songs (twelve songs you’ll never hear, to be sure) it was a momentus occasion because i had an album, even though at this point i’ll probably never play any of them ever again. The funny thing about this new album is that it’s a whole hour of the same song … “Hold On Me” shares some of the same lines and subject matter with the song i posted only a few minutes ago.


I’ve obviously mastered the art of writing “the kiss-off song,” as Gina eloquently puts it, and now what remains it for me to write some other songs to flesh out the emotional landscape of my work. Obviously i just have a surplus of ‘breakup’ feelings floating around, and while i can focus them into many facets of break-up song, and i can’t seem to focus them into anything else. However, musically i’ve been all over the board, from the acoustic rock of “Hold on Me” to the fingerstyle guitar of the two untitled songs to folk bop in “Because” to 3/4 jazz in “Unstrung” to ballad in “Colorblind” to tenor guitar in “Either/Or” back around to punk rock in this new one. So, the trick is to now hang on to that broadened musical pallette, but manage to feel something else. Here goes…