The production of this album was inspired by a pink sparkle partscaster, and a matching drum I refinished. The instruments you see on the cover are the ones in question, and I felt they needed to be married together with nothing else in the way on the EP. The songs, on the other hand, came by their own various inspirations.

You're The Ocean, was a cowrite of sorts with Steve Strickland. He sent me a lyric idea with some music. I used the lyric and main riff with a slightly different chord progression for the chorus. The verses I wrote were prompted by something I heard Guy Clark say in an interview about his wife, Susanna, "I don't tell her she's wrong". Some love can be all consuming like the ocean.

Every Man A Horse. Well, to be blunt, this one is about the multifaceted and sometimes stubborn way people can be.

Pink. Just an instrumental to let the pink sparkle guitar talk.

Warsaw Ghetto (Ringelblum Cans) came from watching the documentary, The U.S. and The Holocaust. There's a part where they're talking about how Emanuel Ringelblum and his secret group collected and buried caches of information about the culture of the people in the Warsaw Ghetto in milk cans and metal boxes so they would be remembered as they faced annihilation. It was such a powerful symbol of resistance.

Glass Cactus finds the band again recording in the barn, only this time around, instead of setting up in the hay loft, we're in an interior room which gave us separation to utilise the old concrete dairy side of the barn as the echo chamber for the entire album. Being able to use natural environmental sounds in the recording process is always a thrill, and we're fortunate enough to have Austin's barn at our disposal. All the basic tracks were recorded with all four of us live in the room to capture the energy then run it through the dairy chamber. Some of the overdubs were cut simultaneously as well, such as the guitar solos on Cross Creek, where Bradley and I set up facing each other to trade off and weave together. Later at 1509 Recording Service we had guests like Nate Holt come by to add keyboards. Chance Dibben (Selvedge) contributed ambient sonic manipulations. Steve Faceman of SOLOHAWK and Faceman sang backup on Lost. The overall result is something akin to a Crazy Horse album.