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[Andy:] hello.

[David:] yeah, is Andy there?

[Andy:] uh...this is he.

[David:] this is David Crowder calling for the interview that was scheduled today?

[Andy:] oh. Yeah. Great. Um sorry...I didn't expect you so soon.
Let me...give me a second to get things set up here.

[David:] no problem.

[Andy:] yeah. Made a few changes around here
and my typical setup is kinda, you know, technology's a killer right?

[David:] uh...well...we'll have to wait and see I guess.

[Andy:] well. Alright. Well. Umm. Well. Hey, let's get started.
Uh...sorry my notes are...you know a little scattered here...
uh...you'll have to forgive me.

[David:] mmhmm.

[Andy:] uhmm...I gotta admit I...I really don't know much about...
you know...you... You...or the band...
but I've got some friends that are big fans and um...

[David:] right.

[Andy:] but...uh...anyway...um...alright. Well. Ok. So here we go.
Um...so your new CD is titled a collision, or...um...3 + 4 = 7 that's..
that's interesting. You know the...the...

[David:] mmhmm.

[Andy:] ...whole double title thing.

[David:] yeah.

[Andy:] uhmm lets see...uh...and the atom on the cover that's pretty

[David:] uh huh.

[Andy:] cool. I was...I mean...I was never all that great in science and.
And math wasn't really my...my specialty...which is...which is I guess,
you know, why I'm a writer now. But uh...

[David:] mmhmm.

[Andy:] ...anyway um...

[David:] ok.

[Andy:] ok. So uh...it...I don't know...is that...it's like with the cover...
is that a metaphor or...uh...I mean is it metaphorical for something or like, or is it...

[David:] well...

[Andy:] ...just pretty or...

[David:] ...nah. Well I mean. Yeah.
The...uh...atom, it's not really...I mean it's a symbol.
You see that and you think atom.
It shows electrons moving in elliptical paths around a nucleus and all...we know...

[Andy:] mmhmm.

[David:] ...that's...that's not how an atom works. Or...or looks even, for that matter...

[Andy:] ok.

[David:] ...and so....and so that's why it was appropriate for the cover, you know...

[Andy:] right. Uhmm. Ok. Yeah. I'm not really sure I see the connection. But...

[David:] ...well...and what we mean to say is that the elements of worship are inadequate,
much like the atom depiction. But this is what we have you know?
It helps us carry the idea.

[Andy:] mmhmm. Mmhmm. Uhmm. Ok. Uh.
Tell...ok...what's the deal with these little songs between the real...you know, the real songs?
Like are they significant? Uhmm...is there like a theme of the album?
Or are they creating space? Like what's...going on there?

[David:] uhmm. I don't...

[Andy:] ok. Uhmm. So you know I hear there's this really spectacular ending to...
to the record is that true?

[David:] we'll have to wait and see on that.

[Andy:] swell.

[David:] it does swell.

[Andy:] wait...uh it...wait...hold on...it does well?

[David:] no. It swells.

[Andy:] oh. Right. It swells. Uhmm. Ok. Well.
And so the end starts with this...this piece called "the lark ascending."
Uhmm now what is...what is the lark?
Is that...is that also a metaphor for something?

[David:] uhmm. I gue...I mean I guess. I just...I don't think...
I don't think you should read too much into any of this you know
It's...I mean the lark ascending was written...
it was a piece written by Vaughn Williams who died in 1958,
and uh, the work opens with this calm set of sustained chords and then (coughs) sorry.
Excuse me. And uhmm.
Anyway and so then the violin enters as the lark and it...
it starts with this series of ascending and repeated intervals and this...
these nimble then elongated arpeggios. Uhmm.
And he actually found inspiration in a work by the English poet George Meredith
who died in 1909 and the composer included a portion of Meredith's poem on the flyleaf...

[Andy:] wait uh...

[David:] ...of the published work

[Andy:] ....hold on wait...

[David:] ...uhmm...

[Andy:] ...why do you keep mentioning...

[David:] ...and it...

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