listened to it later and re-wrote parts of it. Though McMahon said the song is not about him directly, it talks about a person leaving Los Angeles as he had after disbanding Jack's Mannequin. "Cecilia and the Satellite" was written knowing he and his wife were expecting their first child. It was one of the last songs written for the album, and summarizes McMahon's life up to that point. It incorporates group vocals in the vein of Bastille. While on the way to a studio, McMahon heard Don Henley's "The Boys of Summer" and wanted to pick apart its anatomy with Viola. After noticing how vivid the song's lyrics were, they began writing "High Dive". McMahon tackled it from the viewpoint of splitting up with his wife and her moving on, saying it was about loving a person "so much that you'll take anything they're willing to give even if it's not enough". McMahon's weekend trips to see his wife inspired the creation of "See Her on the Weekend". It talks about long-distance love and occupying time until Friday. "Black and White Movies" was one of the earliest songs McMahon wrote with Viola in his garage; he saw it as an "answer" to the work he had done with Jack's Mannequin: Everything in Transit "was all about summer and California", whereas "Black and White Movies" was "after the tourists left and the beach houses get shut down". "Driving Through a Dream" began as a psychedelic piece before McMahon reined it in and wrote about an urge to escape life and drive in a desert. The intro was compared to the beginning of People and Things track "Television". "Halls" was written about a specific moment during the first Jack's Mannequin tour while on a stop in Arizona. He had broken up with his girlfriend and attempted to reconnect. One critic viewed it as a dance-able version of People and Things song "Amy, I". "Rainy Girl", alongside "See Her on the Weekend", were some of the earliest songs written during McMahon's stay in Topanga. It talks about his enthusiasm over meeting his child. "Maps for the Getaway" is about going for broke, and borrows the melody from the Everything in Transit track "Rescued". The synthesizer channels the melody of "Edge of Seventeen" (1982) by Stevie Nicks. Release In July, McMahon began performing under the moniker Andrew McMahon in the Wilderness. He explained