Introduction to Part II: It’s Also Glass:
Pee Shaw (external simulation nomenclature: Moe) is stuck in emotional fragments and memories of pseudo-spiritual encounters. In this state, the mess of life seems intimidating. In order to try and ease the mental torment induced by all this, Pee Shaw frequently escapes to the Helderberg Escarpment; a mountain range in eastern New York where Pee Shaw feels relatively at peace. Pee Shaw particularly loves being around the escarpment itself- an abrupt drop in elevation that creates many cliff faces. Pee Shaw comes to notice how looking out from atop these large cliffs over the valley below seems analogous to the mental torment; from this place, the life below seems infinite and meaningless, but this infinite meaninglessness is indeed only visible from this elevated vantage point. In this way, to be stuck analyzing life’s every moment causes the terror of existence to build, creating an everheightening divide that prevents Pee Shaw from living- from moving on- from loving self. Pee Shaw has to face the obvious task ahead, Pee Shaw must descend the cliff.

Nicely formatted lyrics can be found here: docs.google.com/document/d/1RJWF34nB9zQs21lUAkfFv7UY4L0KpR9pfTjLOGwg-7w/edit?usp=sharing

About the Glass Albums:
The Glass Albums were created mainly during two distinct periods. The first period of work took place between March 2019 and July 2019. This first period was a time of great turbulence for me; I was frequently moving around, living in many different locations all across the USA. Perhaps due to this turbulence in part, I found myself unable to focus on just about anything, including my music; so, I created a massive amount of unfinished recordings during this time. Following this period, I moved in with my father and became exceedingly depressed due to my seeming inability to reliably complete or achieve things. I felt unable to control my own actions and became angry with myself and who I am. The huge number of unfinished recordings I had around me constantly reminded me of my inability to direct my own energies- my inability to commit- my inability to create. I felt like I was a loser by all of my own measures and I feared I was a disappointment to everyone around me. By some chance, I wound up losing my laptop with all this unfinished work shortly after entering into this depressive phase. This wound up being a great thing for me in a way; I purchased a new laptop and began work on what eventually became the Skyboat album. Again by chance, shortly after releasing Skyboat, I found my old laptop that I had thought was gone forever; and so I was able to revisit all the unfinished work from a new context- a context where I had begun to prove to myself that I can still create. In February of 2020, I resumed work on these tracks, eventually finishing all 14 tracks within that same month. These 14 tracks constitute the Glass Albums. The Glass Albums represent a reconnection with myself, both through their content, and through this story of their making. I hope the Glass Albums can help others on their path towards loving and respecting themselves.