It’s in part a tribute to pioneering scientists. I was thinking about early geologists coming across fossils buried under the soil with little idea how and when they got there. I think that era of scientific discovery went some way to shaping the modern world. The idea of how their work, in the future, went on to undermine a theological idea of the origin of life, and how much more humbling it is that we are all a product of a graceful natural process. ￼
Mostly the song is a device to set up the pay off of the song at the end with the reference to Linnaeus, the great early taxonomist. It’s kind of a joke that section, a lot of the songs on the album reflect a need to belong and feeling a bit out of place. I thought it was quite funny to portray that feeling of dislocation in terms of being an evolutionary misfit.
Sonically I wanted to create a wash of arpeggio guitars with new parts coming in throughout the song to build a cascading, waterfall-like sound. Jim’s three different bass parts are hugely important as well, I love the way they seem to play to each other throughout the song, they have a bubbling quality which allows more space for the guitars to do their bits. I think it might be the only song we’ve ever done that doesn’t have any keyboards on it, everyone has a go at a guitar part to try and create that a waterfall of guitars.
In terms of the record it ends a musical suite that starts with Harvest in the Snow where each song runs into each other, in our minds it’s marks the end of side 1.