Violin solo from ‘The Little House I Used to Live In’
~ The Mothers ‘Burnt Weeny Sandwich’ 1970
~ The Mothers ‘Burnt Weeny Sandwich’ 1970
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| Endymion ~ Samuel Araya |
Nobody gets inside Giles’ head more easily than Krystal; she keeps him boiling, keeps him on his toes; keeps him alive to relish ever more sharply that which is his to inflict on the world.
For obvious reasons he prefers not to be in the same room as her for too long; she presents him with no façade, no room to protect his veneer. What passes for love - a concept they both forwent long before they got together - are mutually advantageous character traits: they fit together like the pieces of a two-piece puzzle that depicts nothing but a diamond shaped hole in a velvet surface.
Giles’s not afraid to do Krystal’s dirty work, in fact he relishes their time apart as much as she does.
For obvious reasons he prefers not to be in the same room as her for too long; she presents him with no façade, no room to protect his veneer. What passes for love - a concept they both forwent long before they got together - are mutually advantageous character traits: they fit together like the pieces of a two-piece puzzle that depicts nothing but a diamond shaped hole in a velvet surface.
Giles’s not afraid to do Krystal’s dirty work, in fact he relishes their time apart as much as she does.
| The Mothers | ||
| The Little House I Used to Live In | ||
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