[Andy:] hello.
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[David:] yeah, is Andy there?
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[Andy:] uh...this is he.
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[David:] this is David Crowder calling for the interview that was scheduled today?
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[Andy:] oh. Yeah. Great. Um sorry...I didn't expect you so soon.
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Let me...give me a second to get things set up here.
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[David:] no problem.
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[Andy:] yeah. Made a few changes around here
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and my typical setup is kinda, you know, technology's a killer right?
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[David:] uh...well...we'll have to wait and see I guess.
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[Andy:] well. Alright. Well. Umm. Well. Hey, let's get started.
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Uh...sorry my notes are...you know a little scattered here...
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uh...you'll have to forgive me.
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[David:] mmhmm.
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[Andy:] uhmm...I gotta admit I...I really don't know much about...
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you know...you... You...or the band...
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but I've got some friends that are big fans and um...
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[David:] right.
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[Andy:] but...uh...anyway...um...alright. Well. Ok. So here we go.
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Um...so your new CD is titled a collision, or...um...3 + 4 = 7 that's..
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that's interesting. You know the...the...
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[David:] mmhmm.
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[Andy:] ...whole double title thing.
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[David:] yeah.
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[Andy:] uhmm lets see...uh...and the atom on the cover that's pretty
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[David:] uh huh.
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[Andy:] cool. I was...I mean...I was never all that great in science and.
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And math wasn't really my...my specialty...which is...which is I guess,
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you know, why I'm a writer now. But uh...
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[David:] mmhmm.
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[Andy:] ...anyway um...
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[David:] ok.
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[Andy:] ok. So uh...it...I don't know...is that...it's like with the cover...
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is that a metaphor or...uh...I mean is it metaphorical for something or like, or is it...
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[David:] well...
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[Andy:] ...just pretty or...
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[David:] ...nah. Well I mean. Yeah.
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The...uh...atom, it's not really...I mean it's a symbol.
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You see that and you think atom.
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It shows electrons moving in elliptical paths around a nucleus and all...we know...
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[Andy:] mmhmm.
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[David:] ...that's...that's not how an atom works. Or...or looks even, for that matter...
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[Andy:] ok.
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[David:] ...and so....and so that's why it was appropriate for the cover, you know...
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[Andy:] right. Uhmm. Ok. Yeah. I'm not really sure I see the connection. But...
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[David:] ...well...and what we mean to say is that the elements of worship are inadequate,
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much like the atom depiction. But this is what we have you know?
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It helps us carry the idea.
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[Andy:] mmhmm. Mmhmm. Uhmm. Ok. Uh.
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Tell...ok...what's the deal with these little songs between the real...you know, the real songs?
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Like are they significant? Uhmm...is there like a theme of the album?
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Or are they creating space? Like what's...going on there?
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[David:] uhmm. I don't...
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[Andy:] ok. Uhmm. So you know I hear there's this really spectacular ending to...
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to the record is that true?
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[David:] we'll have to wait and see on that.
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[Andy:] swell.
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[David:] it does swell.
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[Andy:] wait...uh it...wait...hold on...it does well?
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[David:] no. It swells.
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[Andy:] oh. Right. It swells. Uhmm. Ok. Well.
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And so the end starts with this...this piece called "the lark ascending."
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Uhmm now what is...what is the lark?
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Is that...is that also a metaphor for something?
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[David:] uhmm. I gue...I mean I guess. I just...I don't think...
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I don't think you should read too much into any of this you know
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It's...I mean the lark ascending was written...
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it was a piece written by Vaughn Williams who died in 1958,
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and uh, the work opens with this calm set of sustained chords and then (coughs) sorry.
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Excuse me. And uhmm.
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Anyway and so then the violin enters as the lark and it...
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it starts with this series of ascending and repeated intervals and this...
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these nimble then elongated arpeggios. Uhmm.
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And he actually found inspiration in a work by the English poet George Meredith
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who died in 1909 and the composer included a portion of Meredith's poem on the flyleaf...
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[Andy:] wait uh...
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[David:] ...of the published work
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[Andy:] ....hold on wait...
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[David:] ...uhmm...
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[Andy:] ...why do you keep mentioning...
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[David:] ...and it...
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