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 Mortal Flesh/Bloodless Children

A meld of two songs, the first named for some melodic allusions to the 17th century French carol Picardy (later turned into the hymn Let All Mortal Flesh Keep Silence.) The song begins with an electric bass being bowed with the ribbed arm of a cymbal stand over a distorted bongo loop. After the second appearance of the Picardy motif, a madrigal choir of bloodless children makes an appearance before the song shifts into some sort of evil, yet sassy jack-in-the-box music.

 Fuzz Minor

The title stems from a ongoing joke during the studio sessions ("What key is this song in? Oh, it's in fuzz minor.") The song began as a nod towards jazz-funk mainstays Medeski, Martin & Wood, but eventually veered off in another direction. After a Wes Craven flavored mid-section, the melody reappears over a new set of chord changes. The song ends with an electro-pop excursion accompanied by piano and fuzz-bass.

 Lullaby feat. Lily Thornflower

Lullaby features the only 'traditional' singing on the record, provided by vocalist Lily Thornflower.

You wait outside. It's only for tonight.
I'll sing a lullaby. Goodnight, goodnight. Good.
Night will be the picture plane.
I will be the morning rain, safe behind the window pane.
Just for tonight.
It won't be long 'til morning comes along.
I'll sing your favorite song tonight, tonight. Too.
When the winter moans through your frozen bones,
will you wait for me? Patiently? Oh.

 Cincopate/Carton

Two songs made into to one – incidentally the second half was written first. Cincopate begins with a Horace Silver-inspired piano figure stretched into five beats. A simple statement of the melody leads into a two minute exploration of time and syncopation, shifting from five to six, then four, and finally a different kind of four. The ‘Carton’ portion begins just before the three minute mark (named because it reminded the band of the theme song to a ‘missing person’ type television show – thus pictures on the side of a milk carton.) Some laundry percussion enters (washer on the left, dryer on the right) and finally a restating of the original melody.

 Answers on a Postcard

The opening notes of the Rebab (a Turkish spike fiddle) dictated much of the tonal personality of this song. This traditional instrument made from a gourd, a stick and four strings was fitted with some very archaic tuning pegs, and would only stay in tune to three ‘real’ notes (the open strings heard at the beginning of the song.) All the other instruments had to be restricted to scales that fit well with those notes - at least at the beginning. Next is a mellow Santana-style groove that morphs into a piano-driven, Rachmaninov-inspired climax.