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[The title] was the last thing that I chose, after all the songs and the cover art were finished. So none of the songs directly allude to that myth. But the main themes that emerge out of that myth are really close to the themes on the record -- mortality, decadence, an excess of water, isolation, rebirth. The myth is also significant to me because of the way that I encountered it, which relates to one of the huge events the record is about.
I also liked the power of the word itself. I liked how violent and cryptic it felt; it's such a daunting word to encounter. I like how it contrasted this finely rendered, carefully composed front cover -- the painting is information-dense, formal, and stylized; it looks the way something looks when a painter spends a year on it, which is what Benjamin [Vierling] did. So it has all this detail and carefulness to it, which was really important to me and relates very closely to the record. But I also felt like it needed some sort of ballast, or balance, next to it, to reflect the other elements of the record; its innate violence. I wanted a word that was like throwing a brick at the visual on the front cover; I liked that whenever someone looked at that cover they also had to encounter this short, weird word.

 

Joanna Newsom

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I don't necessarily see the elements that I invoke on the cover and in the songs as being in binary opposition. I know certain binary tensions emerge between these elements, but a lot of times they're more like archetypal elements; these free-standing, huge forces. Mortality, standing alone, as a thing; as opposed to, "Over here's life; over here's death. Here's bad luck, but here's blessing and redemption. Here's water; here's fire." Certainly those things come up again and again in the songs, but it's not intentional, and probably has more to do with the fact that those things emerge in real life, without any effort on our part whatsoever, than they are derived from any classical tradition. I think classicism in general might reflect more closely the natural order of human life, while postmodernism is somehow removed from the natural order, more cerebral and sterile, removed from real life on some level. So what seems like classicism in some of these songs might be just what I view as an accurate reflection of real life on this planet.

 

Joanna Newsom

 

I think no matter what we cover, people tend to see what we cover through their own particular political or personal prisms. I always ask people to be specific what they're talking about. You can't cover the Middle East — you can't cover American politics — you can't cover America these days without finding people in one place or another taking exception to what we do. I think it goes with the territory. Keeps me, at least I hope, mindful, always that there's at least one other opinion and sometimes a dozen other opinions. And they all bear accounting for. But not everybody is right you know because somebody says, "well you did X", and you say "well, maybe X is right in some cases".

 

Peter Jennings

 

For the past fifty years at least, Western scholars have approached the study of myth from a viewpoint markedly different from, let us say, that of the nineteenth century. Unlike their predecessors, who treated myth in the usual meaning of the word, that is, as "fable," "invention," "fiction," they have accepted it as it was understood in archaic societies, where, on the contrary, "myth" means a "true story" and, beyond that, a story that is a most precious possession because it is sacred, exemplary, significant. This new semantic value given the term "myth" makes its use in contemporary parlance somewhat equivocal. Today, that is, the word is employed both in the sense of "fiction" or "illusion" and in that familiar especially to ethnologists, sociologists, and historians of religions, the sense of "sacred tradition, primordial revelation, exemplary model." ... the Greeks steadily continued to empty mythos of all religious and metaphysical value. Contrasted both with logos and, later, with historia, mythos came in the end to denote "what cannot really exist." On its side, Judaeo-Christianity put the stamp of "falsehood" and "illusion" on whatever was not justified or validated by the two Testaments.

 

Mircea Eliade

 

One of my many favorite tattoos I’ve seen of myself is from a photo shoot I did for the cover of a compilation called Punk Fiction that came out in the 90s. And my friend who was putting it together asked me to re-create the movie poster for Pulp Fiction with me in place of Uma Thurman as Mia Wallace on the bed smoking a cigarette with the wig on and everything. So I went in and did that and it was the cover of the record and posters were made. Since then I’ve seen a portrait tattoo of me as Mia Wallace. That’s my favorite. And that was years before I was publicly dressing as a woman, which I’ve been doing for years now onstage and off. I think Mia Wallace was just one of my earlier excuses to strut around in women’s clothing.

 

Davey Havok

 

I haven't found it difficult because I find this very enjoyable. It's really challenging. And I'm really proud of the record because it's a really good record. There's nothing harder than to write a pop record with meaning. I think it's much easier to be alternative. It's much easier to be different and take a different path outside of a commercial context. To try and write a pop song that is not cliché, to try and write a pop song that has meaning and fits in under three minutes and five seconds and has a hook that people want to listen to is the most difficult thing in the world to do. So in lieu of that you have to write what you know and what you like, what you're feeling. That's all I can basically do. I don't begrudge the other people that don't write their songs. And I don't judge them. I'd like to see more people writing their own songs, because that's just personally what I like. Just for me, as an artist, so many people only care about being popular right now. Whatever happened to trying to write a song that means something? When I was growing up, artists meant something. They had opinions, they looked different than the person working at the store on your street. They opened your eyes and taught you something about life. And I would like to aspire to be that kind of artist.

 

Colleen Fitzpatrick