Chris Robley Week: Little Love Affairs
This is the closest thing to a title track since its got the album name (The Drunken Dance of Modern Man in Love) in the lyric. On a side note, I always think its cool when albums are named after lyrics instead of song titles. My Aim is True, for example.
Anyways, its a tune that charts the topography and limits of fidelity in an age of great unmet expectations. Up front, its probably the poppiest song on the album, although I like that its structured musically like a palindrome. ABCBA That is my small, silent revolution against the constraints of catchiness and form.
I love the compressed and distressed acoustic guitar sound that John Vanderslice (and Neutral Milk Hotel before him) have trademarked and used that a bit on this recording. The drums had this really interesting room mic on them that we went with (instead of the close mics) because it had a giant, but distant sound. It seemed suggestive of something thunderous without actually being so obvious and sprawling.
Benny Morrison played some Savoy Truffle Barritone sax parts and Paul Brainard played pedal steel. After listening to the song a couple times, Brainard went into the next room and played it note for note on the piano, chords, melody, everything. Its not prog-rock, but its not the blues either. He's a gifted one. Bastard.
The high pitched percussion on the chorus is me banging on glass with two metal knives. It sounds like a gentle tinkling, but there was jagged bits of glass debris all over the studio floor and in my hair. Learn more about the CD, listen to the songs and more right here!