I may have changed, it's hard to gauge Time won't account for how I've aged Would that I could tie your lying tongue Who says that leaving keeps you … - Joanna Newsom

Above them,
parades mark the passing of days
through parks where pale colonnades arch
in marble and steel,
where all of the Twenty Thousand attending your foot fall
(and the Cause that they died for)
are lost in the idling birdcalls,
and the records they left are cryptic at best,
lost in obsolescence

[The title] was the last thing that I chose, after all the songs and the cover art were finished. So none of the songs directly allude to that myth. But the main themes that emerge out of that myth are really close to the themes on the record -- mortality, decadence, an excess of water, isolation, rebirth. The myth is also significant to me because of the way that I encountered it, which relates to one of the huge events the record is about.
I also liked the power of the word itself. I liked how violent and cryptic it felt; it's such a daunting word to encounter. I like how it contrasted this finely rendered, carefully composed front cover -- the painting is information-dense, formal, and stylized; it looks the way something looks when a painter spends a year on it, which is what Benjamin [Vierling] did. So it has all this detail and carefulness to it, which was really important to me and relates very closely to the record. But I also felt like it needed some sort of ballast, or balance, next to it, to reflect the other elements of the record; its innate violence. I wanted a word that was like throwing a brick at the visual on the front cover; I liked that whenever someone looked at that cover they also had to encounter this short, weird word.

In the folds and the branches,
somewhere, out there,
I was only just born into open air.
Now hush, little babe.
You don’t want to be
down in the trenches,
remembering with me,
where you will not mark my leaving,
and you will not hear my parting song. Nor is there cause for grieving.
Nor is there cause for carrying on.