From a December 2015 blog post by Barry Andrews himself:
"This was the easiest Shriek tune to translate to the piano because the pianisms were already built into the original. I liked the idea of some slightly camp and florid piano adorning a tune about a dog twitching on the hearthrug, not totally sure why: foppish high culture and earthy houndliness perhaps being amusingly contrasted. The ridiculous arpeggio which opens the track is a private joke with myself. At secondary school (where playing piano was a skill, I discovered, which could often keep one’s head from being punched or put down the toilet) when ‘invited’ to perform for a coterie of hardnuts from the year above (‘dance, monkey, dance!’), I would open with just such a baroque flounce. I think the sheer Liberace-ness of it made me at once worthy of their indulgence - of grudging admiration even - and seem too strange and delicate a creature to be immediately destroyed."
From a December 2015 blog post by Barry Andrews himself:
"This was the easiest Shriek tune to translate to the piano because the pianisms were already built into the original. I liked the idea of some slightly camp and florid piano adorning a tune about a dog twitching on the hearthrug, not totally sure why: foppish high culture and earthy houndliness perhaps being amusingly contrasted. The ridiculous arpeggio which opens the track is a private joke with myself. At secondary school (where playing piano was a skill, I discovered, which could often keep one’s head from being punched or put down the toilet) when ‘invited’ to perform for a coterie of hardnuts from the year above (‘dance, monkey, dance!’), I would open with just such a baroque flounce. I think the sheer Liberace-ness of it made me at once worthy of their indulgence - of grudging admiration even - and seem too strange and delicate a creature to be immediately destroyed."