as far as song structure and changes:

consensus: grooves are great - but they sound unfinished. definitely keep the sound sparse, demo-like, but maybe some ear candy electric axe noodling and even some keys here and there will fatten things up. enhance the dynamics, really. but don't let shit get too busy - and don't let it interrupt the meat: vocal, acoustic axe and beat.

as far as specific song shit goes goes goes:

• anymore: is the stop at the end of the third verse too much? draw too much attention to the m-word? is it even a good idea, since the entire first verse and chorus are broken down? breakdown or buildup? electric axe? keys? hmmmmm.

• six: same issue - kill the breakdown after the spoken word. the buildup after gets aborted too quickly: keep the energy up, makes the end more of a denouement. works live, but dampens the buildup on tape. also: remember 'ring around the collar' and 'ex-pen-sive gee-tars' (ecks pensive guy tars?) also, as far as track order, this tune is best second: thematically related to the songwriting and 'understand' issues of 'anymore,' and the mid-section hints at the darker punk funk to come with 'closer', 'interview'. the dark side of the force. with 'closer' second, it's kinda like coming at 'em from behind and hittin 'em over the head with a baseball bat. but with 'six' first, it's a seduction. it's like showing them the bat: 'isn't it beautiful? look at this wood, look at the grain. so much potential for power, huh? would you like to touch it?' and then, just as they reach for it, BLAM! down. and out. six bats a-swinging. i pray for this to bring us closer.

• closer: clean up the transition from the funk to the fury - and back to the funk. maybe a cacophonous chord walkup at the end. electric axe or string keys. or both. in fact, electric axe on the chorus would kick. like 'medication' - the acoustic and electric stereo complement. feedback heavy (but quiet chords) during the fury, too. maybe mirror the bass line during the first two verses to keep it simple. question: does bry-bry need to buy a tele? is this the early x-mas gift to self? pull a hendrix with mario's lefty - string it upside-down 'n backwards? ugh. funny if this weekend's trip to the city to look at acoustics results in the purchase of an electric. irony can be pretty effin' ironic sometimes.

• liquefy: transition from 'closer' to 'liquefy' much more intense, and thematically related - a seduction. perhaps the 'closer' prequel. keep the rhythm consistent, as tracking vocals after-the-fact is probably going to be the reality for the solo-acoustic tunes. tho perhaps the harmonic between verses is necessary to sorta jar the listener, hint that the seduction is somewhat unsettling. hint at the 'closer' consequences. perhaps vocal begins, then, after a couple runs of the riff, rather than right back into it. or just keep it steady, following the rhythm. to this end, the caesura at the end of the second verse is probably something best left to live performance.

• tiresias: lay off the harmonics on the verse? too much? wait and see. poll john, hoby, mario. as for electric axe - anything other than single strum heavy chords may make the shit too busy. but it might be nice on the close, and especially on the walkup. a la medication again. remember: 'men do not know [a beat] little girls understand.' don't force the word 'little.' also: try not to force the word 'expensive' in the first line of 'six' - tho a fudge may be necessary, since it's the first line of the song, and sets up melody expectations for the listener.

• interview: bass is cool as is. just need to map out more definite structure for the final verse: which lyrics stay and which go. the cop stop could also use a snare shot to re-introduce the main riff without the guessing. reality check needs differentiation. perhaps the fantasy vocals have a heavier reverb. hmmmm.

• cycle: speed up the mid-section unless it rushes the vocal line too much. it would also be nice to have mario and/or amy and/or paddy as the ambassadors of hope at the end to deflate the hopeless shit muck filth that this song is. everything gonna be all right. indeed.

• one-four: god vocal needs to be slow. joyce vocal needs to be soft, almost a whisper. less confidence in the words: say them as if they mean nothing, which they do.

• watchtower: don't improvise the rhyme in the first verse: there are enough differences in this song that it's got the bry-bry stamp on it. save that for live. all that's needed is to map out a definite length for the final verse. also: gotta get the rights, jack. do it right and get the rights.

• smiling: electric axe, sure, but again, only if necessary. don't clutter shit up. end jam shouldn't go on for more than two minutes. get inside the vocals on last verse. feel it.

• bonus tracks: solo acoustic demos for clubs? hmmmmm...