,.=/%%@£## ##£@%%/=.,
,.=/%%%@££ ££@%%%/=.,
,.=/%%%%@# #@%%%%/=.,
,,,.=/%%£# #£%%/=.,,,
,,,,,,=/%@ @%/=,,,,,,
,.=/%%@£## the last song on side b (and to some ##£@%%/=.,
,.=/%%@£## extent the first song on side a) talks ##£@%%/=.,
,.=/%%£### for the whole album, not just their ###£%%/=.,
,,,=/%%%@# side. the last song on side b is #@%%%/=,,,
,.=/%%@£## probably the most important ##£@%%/=.,
,,,,.=/%%@ opportunity, the most charged slot. @%%/=.,,,,
,.=/%%@£## ##£@%%/=.,
,.=/%@£### ,£#£, ###£@%/=.,
,.=/%%@£## ##£@%%/=.,
,.=/%%@£## the album is a singularity, an anomaly ##£@%%/=.,
,.=/%%@@@# in spacetime, a creature that knows #@@@%%/=.,
,,..=%%@@# exactly how beautiful it is. #@@%%=..,,
,.=/%%@@@£ , £@@@%%/=.,
,.=/%%@£## and the thing is: it sees itself in ##£@%%/=.,
,.=/%%@£## three d. it knows that it's dying. ##£@%%/=.,
,.=/%%@£## ##£@%%/=.,
,,,,,../%£ %%%%%%%%%%%%%%%%%%%@@%%%%%%%%%%%%%%%%%%% £%/..,,,,,
,.=/%%@£## ##£@%%/=.,
,,,,=/%%££ . dolphins and cats . ££%%/=,,,,
,.=/%%@### bring us ###@%%/=.,
,.=/%%@@£# , flowers and honey , #£@@%%/=.,
,,,,,./%@@ @@%/.,,,,,
,.=/%%@£## . dolphins and cats . ##£@%%/=.,
,.=/%%@£## bring us ##£@%%/=.,
,.=/%%%@@@ , fairies and bees , @@@%%%/=.,
,.=/%%@£## ##£@%%/=.,
,.=/%%@£## our boat is afloat ##£@%%/=.,
,,,,,,=%@£ on a surface of lilies £@%=,,,,,,
,.=/%%@£## . dolphins and cats . ##£@%%/=.,
,.=/%%@£## drag us down ##£@%%/=.,
,,,=/%%@@# ,=% underneath %=, #@@%%/=,,,
,.=///%%@@ @@%%///=.,
,.=/%%£### %%%%%%%%%%%%%%%%%%%@@%%%%%%%%%%%%%%%%%%% ###£%%/=.,
,,,,,./%@@ @@%/.,,,,,
,.=/%%%%@£ side a is foresty, and side b might £@%%%%/=.,
,,,../%%££ be lizardy. but the last song is full ££%%/..,,,
,,,,./%%%@ of space. @%%%/.,,,,
,,,,,=/%%@ @%%/=,,,,,
,,,,==%@£# #£@%==,,,,
,.=/%%@£## ##£@%%/=.,
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