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Encarnacao a structure that is truly episodic, yet, musically speaking, does not subscribe to a traditional sense of narrative. A comparison between the structure of this recording and the two already discussed is instructive:

In the Costello and Kinks tracks, the alternation of sections A and B is integral to their definition as verses and choruses and helps to cement the idea of a place of origin, a move away from that place, and a return. In 'Drummer Boy' we hear four vastly contrasting sections before any of them is repeated, and neither the C nor D section functions as verse or chorus. Additionally, the functional diatonic harmony of the first two examples is not evident in 'Drummer Boy,' and this is underlined by the fact that each section is in a different tempo. These aspects upset any traditional notion of narrative as we have come to expect it to operate in song form.

In terms of sound-mass, while each section works within a standard kit of rock instrumentation — vocals, guitars, drums — the lack of continuity between sections means that the listener is constantly readjusting to different sound-masses which individually carry connotations of the confessional singer-songwriter (A), indie/post-rock (B), hard rock (C), outsider music (D and E) and punk (E). These are not exercises in musical style, it would seem, but rather a through-composed approach to the momentary demands of mood and text. While we might be able to plot a trajectory of intensity ___________________