In Love And Anger the narrator seems to be breaking through of personal limitations and "busting through" constricting forms. A 'spiritual cleansing' to let a 'new house' of the future rise up. L&A opens like a Gestalt counselling session, that is interrupted by the entry of a loved one (real or imagined). The narrator cannot confide in a sister (because she hasn't got one?) and cannot confide in a priest. The institution of confession permits all to be said, but the narrator seems mute. Indeed, the album cover to TSW shows Kate's mouth concealed by a flower. In L&A, her muteness leads her to explore other philosophies of freedom. These seem to include Buddhist principles of rebirth and karma.
In Love And Anger the narrator seems to be breaking through of personal limitations and "busting through" constricting forms. A 'spiritual cleansing' to let a 'new house' of the future rise up. L&A opens like a Gestalt counselling session, that is interrupted by the entry of a loved one (real or imagined). The narrator cannot confide in a sister (because she hasn't got one?) and cannot confide in a priest. The institution of confession permits all to be said, but the narrator seems mute. Indeed, the album cover to TSW shows Kate's mouth concealed by a flower. In L&A, her muteness leads her to explore other philosophies of freedom. These seem to include Buddhist principles of rebirth and karma.