Asleep In Perfection

That instantly distinguishable and unforgettable chord opens the song, and the EP. The tapping drumsticks follow, and then the swooping and soaring sound of Glenn's voice carries the listener deep into Asleep In Perfection. The clear tones of Adam's guitar sounds like chimes, and Edmond's bass provides the grounding for this song, which at times threatens to fly away. This is what silk would sound like.

None Shall Pass

There is an almost military manner to the snares which open None Shall Pass, and the precision which follows. Subdued, somewhat ominous, and with a tinkling harmony playing in the background. The percussion plays a large part in this song, and it only gradually fades away into silence - though not without a final flourish.

Rich Girl

Decadence personified - Glenn may not be F. Scott Fitzgerald, but he certainly captures the feel. And with opening lines like "Then I asked about your forefathers/Were they murderous too?", what else do we need?

Departure

Recorded at home, as is immediately obvious from the fuzziness of the sound. That only adds something special, though - a more intimate feel to the song, especially with its crescendo building throughout the length of Departure.  It's the kind of song that you hear nine times without understanding. And then on the tenth day, enlightenment is visited unto you... when it comes to Augie songs, every interpretation is at once wrong and yet oh-so-right.

The Moth Ball

The most achingly beautiful song on Waltz, and that's saying something. A deceptively simple melody is made special by Glenn's gorgeous voice and precise phrasings. From the oh-so-familiar opening line with its recognizable melody, we're transported somewhere else entirely. "A thousand lights going off in my head" indeed - The Moth Ball captures longing, and potential, with its thunderous chorus contrasting with the delicate verses. This is Cinderella at the ball; this is a hundred fairy tales in one. This is the light at the end of the tunnel.

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