It’s his monologue that isn’t subject to perfection. Lanois reads his words at an uneven speed, only sometimes hitting the appropriately sea-salt tone he’s searching for. When he sings the last two lines it sounds as though “Fisherman’s Daughter” is finally beginning, but it’s quickly over. In putting this week together, what strikes me is how much this sounds like something Lanois would have pushed Peter Gabriel to flush out – though Gabriel would have performed “Fisherman’s Daughter” over a bit of mechanized percussion instead of steel guitar. It’s interesting that Lanois would pursue this particular avant garde approach – though he’s no stranger to ambient records and worked on U2’s Achtung Baby reinvention – the dramatic figure of Lanois and his biblical allegory are the lone entry in the entire catalog of religious art prog.
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