Not that there is any way to truly deal with the loss of a loved one from your life, but did the act of putting pen to paper and eventually words to music, make you feel any differently? I suppose what I’m asking is whether or not it helped you get to a point where you’ve acknowledged what happened in a such a way that it has allowed you to keep living your own life without dwelling too much on how different is may or may not be without someone in it?

Yeah, it was good to get these struggles out of my system. The whole situation was really tense and this gave me a way to deal with it. I still think that there is a way to fix it. I am convinced. I can’t keep it on my back, though, or else it will ride me down. A Knot in Hell sort of speaks to that feeling.

“Are you still here now?”

I wanted that to relate to feeble hopes for things to end better. This is all my personal side of it. The PreTragedy story actually follows death in sequence through burial, in “Colours;” shock realization and dreaming of the way things were, in “PreTragedy;” reality itself, in “Anchors;” and questioning in “Knot In Hell.”

Through it, I was able to embody my situation, and turn it into something that more people could relate to.

Why led you to choose the title of the EP, PreTragedy: A Narration?

Well I wrote “PreTragedy” first, “Colours” and “Knot In Hell” next, and finished with anchors. After sequencing them all together and sort of getting a feel for how they interacted, I started to realize that the real tragedy is found in “Knot In Hell.” Most would assume that the tragedy is found in “Colours,” since it’s about the burial, and they get confused chronologically.

Since it was an EP I wanted the single of it, “PreTragedy,” to go at the forefront and then follow it with a little explanation. Ultimately, after some thought, it seemed obvious to title it a narration, because it gives it a sort of romantic feeling that I wanted to develop.

Thus, PreTragedy: A Narration.

Listening to another music project that you’re involved in, The Growing Robot Population, PreTragedy stands out as a departure in terms of song-structure and staying in an acoustic format. Was that a conscious decision on your part to keep things simple and direct?

Yeah it was. I was in the middle of working on my project and was recording with the drummer for tgrp and he said that I should come try out. I’m a big fan of experimental stuff and it seemed like a cool idea to be a part of something crazy. I naturally write simply and directly and for me to be able to perform and record with these guys has given me a little more diversity, musically.