I have a few songs from my past releases that I think deserve a second look…I shared ‘Yma’ with you a few weeks ago, from The Soft Animal, which is one such song, understated but I love its mood still, cold and melancholy.
Another song like this, which I think deserves a second look is ‘Breaking’ from the album Keg. I’ve written about the process of recording this album previously, it being recorded in the wake of the death of a very close friend. That threw a dark shadow over the album and the recording gave me something to focus on through the deep grief.
I feel a little regretful that some of these songs didn’t get a whole lot of attention. Not deeply disappointed, now, I’m happy with the work and I always have that, but I think some of the songs on Keg are among my best songs. It got a little play and some nice shout-outs but some of my earlier songs got more attention. It's just kind of curious.
‘Breaking’ was a song I recorded with Julie McLarnon in her studio in Newry (images below). It was a very satisfying creative exploration. I had written the song as a sort of hope for someone, that their life would blossom. That was written with my family in mind - I want to see you grow into a lifetime in bloom is the refrain. It’s also a reflection on courage and facing down difficult things and how that leads to growth.
The second verse of the song is a harmonised glossolalia and departs from the lyrics of the opening verse as the words have no meaning and really are just a made up language. I was listening to Cocteau Twins when I wrote it I think!
The latter part of the song features the beautiful playing of Justin Grounds on violins and a cascading vocal that reflects on things breaking apart. Stephen Kiernan played the rolling drums, very instinctive playing.
On the crest of a breaking wave / in the hollow of a broken heart / in the glare of a breaking dawn / things fall apart
I love the bass tones in this song as well as the fun drum machine that introduces the track. The bass notes were played on an organ, on the bass pedal, so they are a very low, resonant tone. This was very satisfying to play and was Julie’s idea. Also Julie’s idea was to use an Omnichord which is that shimmery, synthetic sound which you hear. It’s quite like an autoharp which I’ve used plenty but it’s an electronic, analogue sound. Works very well as it sounds like things coming apart. I think Julie pushed this song in quite a Sparklehorse direction. I added in some choral keyboards at home.
Maybe this song got buried but I hope you discover it and enjoy it. Listen below.
P
