(Half) Turn of the Screw

I've been overwhelmed by the guilt that the stack of unopened CDs on my desk perpetually induces, and so I've devoted several hours a day this week to spinning discs and reading liner notes. The music has run the gamut from amazing to dull, as have the accompanying texts. Like cleaning out your inbox, however, I'm down to just two or three discs still in their shrink wrap, and I feel much, much better.
In my own recreational listening, I tend to spend little or no time perusing those little booklets, and I've pretty much sworn off writing for them. The first time I tried my hand at it was for a CD of solo violin work performed by Curtis Macomber. It should have been easy--I'm a violinist, I'm a writer--but instead I suffered a minor panic attack the night it was due, mumbling to my roommate, "What do I say? What do I need to tell anyone about this music? They don't need me. They're probably already listening to it! Who needs me blabbing about history and making up descriptions when the music is already filling their head?"
I was thinking about this again today while assembling Ikea furniture, aided by those clever/poetic/maddening (depending on your talents) pictogram instructions. In the international language of line drawing, they try and make the process of transforming a box of boards into functional furniture a little less daunting, offering a suggested route and posting signage where the wrong turns are. They give you an idea, and a piece of your brain has to take that information and translate it into a small set of tasks to complete. I wish I could write about music in a similar way, leaving more room for reader reaction to fill the space so that they are helped along by what I'm saying, yet the experience and the end product are uniquely theirs. I want them to walk away and think: a million people may brush their teeth over a Vättern sink cabinet tonight, but I put this one here together myself.
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