Gemma Correll is an illustrator, cartoonist and writer whose depictions are witty, hilarious and to the point. She published a funny comic showing the struggles of an anxiety prone life where she plays the protagonist. 

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March: An overture for the album, made up of elements and samples from the album to come.

Alright: The first song written for this album. It’s about letting go. And hiding pain. I feel, in a way, it’s like a sort of saying goodbye to the kid who wrote the last two albums, so I can get on with being the one who’ll write this one.

The Pugilist: A song about the relationship between an artist, his audience, and the part of his brain that won’t let him stop making things.

No Witnesses was written in the place it takes place: a silent hotel room in Los Angeles. It was a rare song that fell out and only made sense after inspection. Sometimes one can write a song and have no idea they were feeling the things it expresses. It can be a pleasant but uncomfortable surprise.

Good Lust: A song about using others like drugs. And, the helpless feeling of knowing it isn’t working. It’s the only song I didn’t arrange the orchestra for; avant-garde composer Ben Foskett and I worked together to try to create an orchestral texture that felt as much as possible like close, uncomfortable heat.

Comfortable Love is, I hope, fairly clear. It’s about abandoning the idea of comfortable coexistence at an age where most people are falling into its arms.

Old Lovers In Dressing Rooms: Hope this one speaks for itself. Post-concert can be a strange place to be.

Polyhymnia: Polyhymnia was the muse of religious song. I guess it mainly questions the line between artistry and sadomasochism.

Gabe: An instrumental for synths and bass clarinet.

Holy Lover: A song of backhanded optimism. Based on the idea of a beckoning mantra that becomes sinister with repetition.