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Waters, Gilmour, Mason and keyboardist Richard Wright participated in the writing and production of the new material, and Waters created the early demo tracks at his Islington home in a small studio built in his garden shed. A carвЂ™s engine provides the backdrop for a signature Galbraith guitar melody on вЂњThe Very Rev,вЂќ while вЂњHorror ShowвЂќ is an existential take on two people experiencing life that culminates with him asking his compatriot to вЂњpush through this darkness, push through fear, so grateful that you were hereвЂќ with an unnervingly doubletracked vocal.ДЇor the most part, all four members approved of Waters' concept for an album unified by a single theme. вЂњLawвЂќ sounds as if Galbraith is improvising alongside a Scottish drum/bagpipe corps, with snaky whisps of feedback seeping into the mix. These pieces are just as heart wrenching as the vocal-centric tracks, the instruments provoking images of loneliness. This piece is book-ended by вЂњAt the Heart of the GorgeвЂќ and вЂњLost the Cottage,вЂќ the former a violin meditation and the latter a guitar/organ droner.

It isnвЂ™t until the morose вЂњSpace ManвЂќ that we hear GalbraithвЂ™s voice, where heвЂ™s hoping that the titular character has achieved freedom through death.

The songs are simultaneously dreamlike and palpably emotional, whether there are lyrics or not. It picks up right from where he left off, featuring a handful of spindly guitar/vocal pieces wrapped in compositions that head in more exploratory directions. Loss is the first set of new Galbraith solo material to be released in over a decade. Yet Galbraith has always been one to experiment, and later records featured more drones and expressive instrumental pieces.

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Earlier material, as collected on the Seely Girn compilation, is in a vein that is primarily what the general public would consider song-oriented вЂ“ the closest this writer feels he came to approaching BarrettвЂ™s cracked solo material. He has filled his miniature sound worlds with bagpipes, violin, reverse-played guitars and organs (thanks to the magic of reel-to-reel tape), as well as plucked and strummed melodies and a level-headed vocal sensibility. At that point, alongside The Dead C, This Kind of Punishment and others, Galbraith sparked a post-Flying Nun version of the вЂњDunedin sound,вЂќ dedicated more toward experimentation than jangly pop melodies. His musical lineage traces even further back to his time in The Rip, which released material on Flying Nun before that label up and split to the North Island. GalbraithвЂ™s solo material traces back to the late 1980s, when the Xpressway Records collective was founded, of which he was a part.