“Scare You” is the fifth release from A Little Fire Scarecrow. Where the previous album explored the complexities of a tumultuous relationship, “Scare You” creates a soundscape drawn from Coraline’s own dreams and nightmares– providing a glimpse inside her psyche that is memorable, potent, and chilling.
Cover art by Robyn Sapico.
A classic story song, a poem intoned over a mysterious musical landscape. The lyrics to this poem were crowdsourced from Twitter and Mastodon, and contributions ranged from single words to simple phrases to complete verses. Contributors included @jameybash, @jmbroad, @alva, @josh_cheek, and @thunderenlight.
This was the first song that was recorded for the new album. I woke up in the middle of the night and went to get a drink of water, and the title of this song came to me all at once. I stumbled to the studio to jot it down and went back to bed. That weekend Kevin Chatham and I laid down the music, which, true to its name, breaks down into three parts. The lyrics draw from recurring nightmares and dreams, and the percussion was inspired by the sound of Tom Waits’ seminal “Bone Machine”. This song features bass guitar by Kevin Chatham.
This song starts slow, with a vocal technique that I describe to myself as ethereal wailing. (I even have a preset effect combination for this). The weird bleeping sound in the beginning was actually an accidentally recorded fret noise that I decided I liked enough to keep and integrate into the song. I spent a lot of time manipulating the car crash sound to mark the transition between its two parts. The dialog at the end was intended to sound like a sample from a Golden Age Hollywood movie.
This was my second attempt to cover Rhiannon by Fleetwood Mac. I have a friend who is really into Stevie Nicks and when I was looking for ideas for “Cover Me and Let Me Dream” this friend suggested this song. I wasn’t happy with the way it turned out so it never made the album. But I was inspired to try again, and I like what I did with it. The bass figures very prominently, as I took the guitar melody from the original and moved it to the bass.
This was a really hard song to write. I was in a depressive episode and my mind was filled with negative thoughts and self-doubt. And I wrote them all down and turned them into a song. I thought that it was important and honest to show some vulnerability. I don’t always think of myself in the way I depict in the lyrics, but there are definitely recurring themes at play.
My dear friend Jameson Hampton shared some of their writing with me, and one of their stories really appealed to me. I asked them if I could turn it into a song, and they gave me an enthusiastic “yes!” The story is amazing, and I think this song has some of my strongest vocals to date. I highly recommend chasing down some of Jamey’s prose and poetry– some of it has been anthologized, and they also make zines.
This song came from a nightmare about visiting a hill with standing stones and finding myself surrounded by demons or spirits that meant me harm. The vibraphone track was recorded on the Yamaha digital piano that I treated myself to recently. :)
My thought was to take the iconic Cure song “If Only Tonight We Could Sleep” and make a noisy, aggressive cover. What happened is that I wrote a sequel to that song, in which the reality of the promise of the angel with eyes like stars doesn’t match the protagonist’s expectations. The rhyming structure of the original was preserved to provide some continuity. I had a great time recording the last part of the song; it features four layers of guitar, with two layers of competing and overlapping distorted solo guitars.