后搖之后，趨之，莫若騖

  1. after the fireworks we walked to the rope swing 
  2. when we get to california 
  3. riding in cars in the woods 
  4. first winter at plymouth colony 
  5. we don’t talk about the night marsha took the boat to digby 
  6. the 20th maine: july 2 1863 
  7. 1975 chevy nova (for aaron)
  8. the winter i got louder than bombs and standing on a beach
  9. doris

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不知道什么時候，一閉眼總覺得眉頭緊湊，眉心的筋繃得緊。
對我來說，閉目並不是最放鬆得姿態。

聽這張專輯的時候我總捨不得閉上眼睛，因為裏面的聲響需要並且值得集中精力去品嘗。
各種配合主題的模擬音傚，鋼琴，原聲的吉他與電的吉他交替、交織，鍾琴，鼓，IDM，提琴.....越來越多的聲響。
你發現你意不在意這首旋律是否足夠悅耳，你期待者下一種奇妙的聲響出現，你隨着讀秒一並探索音樂家為妳精心編排的樂章。

如果把這些聲響比作寫意畫的潑墨，那么迷離的氛圍打底便是與之相輔相成的白宣紙——氛圍因為這些聲響不過于飄，同時他們又與氛圍有機結合，看似淩亂實則點成旋律主幹。

[ PLUS ]  I wrote these words with the mobile phone,lying on my bed.It had been delected by mistake before I had to write a second piece.I hadn't read the TSB's review before I wrote it so this is about what I felt ( as I always stress).I'll describe my first impression of this album with one word: ENJOYABLE.

                       Joshua Robbins ( bass) 
                               Todd ( drums )

[ Band Bio ]    Many of today’s breed of post-rock bands are basically the equivalent of punk-rock bands; they do not rely on virtuosity or technique, and their song structures tend to be predicable and owe more to energy and emotion rather than melodic, harmonic, or rhythmic complexity. Because of this, Sumner McKane stands out from the crowd. He is a brilliant songwriter and a technically proficient musician, yet his playing resonates with soul and passion. He has a style that is unmistakably his own. His influences, which are varied, shine through, but at no point does this fact sacrifice his originality. In a genre in which many critics often give far too much credit to sterile and bland music claiming to be avant-garde, Sumner McKane is an absolute breath of fresh air. -Joseph Sannicandro (TSB)

[ NOTE ]     

...i started writing & recording  this record in the winter of 06, shortly after my first daughter was born. when i began i had a 1-3 month old sleeping next to me as i played. she would stir once and a while and a “koo” or a “gaaa” would come out of her mouth. if i was using a mic, her voice would make it onto whatever track i was recording. a lot of these sounds didn’t make it to tape but a handful did. as time went on, the sleeping, koo-ing & peaceful baby began crawling, talking more and more and finally walking and yelling. at this point the opportunity to record came only at nap time or if we had a sitter.

    now we’re at the point where she’s banging on drums, knocking over guitars and yelling “mama, da da & whatever animal noise she can think of, at the top of her lungs. the quiet little koos and kahs & eventual yells of “ma ma, da da!”, all made it on to the record- all 17 months of audible growth from “lil h”. all these words and sounds are  buried by drums guitars and other sounds but there are a number that can still be heard. as our first born became old enough to walk up and down to the studio, pretty much on her own, my wife and i had another little girl. she has also been sleeping and hanging out next to me as i wrap up this record. she’s just starting to make some noises- a couple of which have also made it to tape.

    harriet and piper were in the studio with me for 80% of the recording of this record. this is why i took my time recording & likely why, through the whole writing and recording process, i thought of my own parents, grandparents, family, home, & growing up in maine. most of these tracks were written with these thoughts in mind.

There may be futher more post later on.....