My thoughts on the 11 songs from The Silent Era:
Appreciater – This song was written about a year ago, before Bridgette and I were married, and its story is right there in the lyrics. It's a song questioning whether I truly value what I have in her. Musically speaking, this was perhaps the song I had the most arrangement ideas for, which explains the simple, clear sound. Jon Smith's lead guitar part really moves this recording, and Craig Larson's harmonies here bring a smile to my face every time.
First Ship Out – This is the newest song on the album, and it was intended to be a late album track to mellow out the second half, but I was so pleased with the results that we ended up making it the second track. It's a song about a girl who may or may not realize that she's in a lousy relationship. Jon Smith improvised the guitar solo on his second attempt, and the vibe on it is beautiful.
Cold Winter – I hadn't planned on recording this song, a favorite of mine co-written by my old friend Niles Randolph. In the end, when Jon and I went in to record a second batch of songs, I realized I needed another upbeat tune, and this little ditty fit the bill perfectly. This is easily the most lightweight song on the album, but it's also the loosest and most fun. Todd Luker played some mean harmonica on this track, but I was also psyched that he agreed to do the guitar solo on it. Not many people realize that he's so talented on that instrument, and he played a sweet solo fit for a cozy cabin porch.
Hiding in the Dark – This song was one of the reasons I wanted to record this album. I allowed the songwriting and the recording itself to be languid and patient (qualities which I am not). I did this by following the ethic, "What would Mojave 3 do?". Craig's harmonies here float nicely, and the chorus has a nice chime-y effect, thanks to his "backpacker" mini-guitar, which we used like a mandolin throughout the album. The lyrics tell the story of a girl who meant a lot to me in high school who ended up making mistakes with men, alcohol, and drugs.
Undertow – This is a song about growing up that was a favorite of ours back in the Welmore Mile days. Jon Gilmore was even gracious enough to join us in the studio and record a nice, bouncy guitar solo on this track. I like the wistful cheeriness of this recording and I think the thick harmonies work nicely.
Backwards for You – This is a song with a simple chord progression and a simple arrangement, but a heavy subject matter. I wrote it after a series of discussions I had with friends about people we knew who had walked away from God. Those conversations led to a few long hard looks at myself, and this song emerged from those. In part, it's about folks who lament how unemotional and staid their faith has become and blame God for it. In large part, it's a series of tough questions I've asked myself. Not a ton of answers here, but at least it's honest.
Empty Glass – It felt good to follow up the tribulations of "Backwards for You" with this song of simple faith. There are almost no overdubs here, and the vocal even clips a bit. Just a raw, unadorned track that feels true to the moment.
Many Years From Now – This is a song I wrote for Bridgette early in our relationship. Amazingly, it has already come true. I felt a bit self-conscious about the simple lyrics as we were getting ready to record, and I was making some changes, but Bridgette encouraged me to keep the song as it was originally written. In the end, I think her judgment was right, and I like the purity of these words. Jon Gilmore and Jon Smith each played lead guitar throughout the song, and I love the way their parts intertwine and give the tune a very unique, twinkle-y sound.
Turning the World – We used to use this song to open the set in Welmore Mile shows. It's got a fun guitar part and the open sentiment of the chorus is something I enjoy. This was a tough recording to nail, but what I like about this song is its simple message of undeserved grace.
Halloween, 1997 – Named after the date it was written. I had missed out on my friends' plans and ended up spending the night alone in my dorm room. My songwriting was incredibly rudimentary at the time, but my friend Paul Carolan helped smoothen the song out. I wanted it to sound like a radio transmission from the past – something very EELS-esque. I'm really proud of how this song turned out. It sounds loose and authentic, values we were shooting for on this album.
Choices Collide – This song was written while we were recording the first Welmore Mile album. We actually wanted to record it for that project, but the song just wasn't developed enough yet. We ended up cannibalizing the title as the title for that album, since it fit the themes we were working with. Anyway, here it is, three years later, and it finally gets a home. It's a song about leaving your comfort zone when your world is becoming an unhealthy place, and finding a new life (and faith) in the process.