![]() ![]() “Bit of a stonker this one, with very high guitars, whammied (is that a word?) up two octaves. My 1992 Fender Strat, maple-necked and very well rounded, lots of sustain, combined with a more recent rosewood Strat, which was cleaner and brighter.” “There were two main guitars being used on this one, mostly for their subtle differences in sound. Being aware of the spaces between the guitars that we can play with. We love making use of different timbres and filling the gaps. I think that’s a big part of our aesthetic. It’s a passage that repeats but gets more layered as it goes on. ![]() “We had a lot of fun with the extended solo in this one. There’s a bottom and a mid guitar that’s growly and rumbling with a tremolo bass, but the high guitar is clean with a glassiness that gives it the haunting quality we wanted. When we came to the final recording, we layered the riff with more than one guitar, which was a different approach to the original demo. “Looking back at the writing process, it’s sometimes difficult to remember what instrumentation or lyric birthed a song, but Back to Nothing was definitely rooted by the lead riff. I love those sections that play with your ears on each separate listen, you find new colour and depth depending on how or where you’re listening.” It’s wave after wave of new sections and layers, high guitars calling and answering with whammies and pitch shifters. The development of the guitars in Farrago was probably one of my favourite writing moments on the record, mostly in the instrumental section. It’s somehow inconsequential but at the same time a story needs the right atmosphere. _ _ Ye know on earth, and all ye ne ed to know.īelow: Tracing of an engraving of the Sosibios vase by John Keats.“The opening guitar on Farrago was a happy accident, but to me it sounds like walking through water. "Beauty is truth, truth beauty," -that is all _ Than ours, a friend to man, to whom thou sayst, _ _ Thou shalt remain, in midst of other woe _ When old age shall this generation waste, _ Thou, silent form, dost tease us out of thought With forest branches and the trodden weed _ _ Why thou art desolate, can e'er return. _ And, little town, thy streets for evermore _ _ Is emptied of its folk, this pious morn? _ Or mountain-built with peaceful citadel, _ And all her silken flanks with garlands drest? Lead'st thou that heifer lowing at the skies, _ To what green altar, O mysterious priest, _ _ A burning forehead, and a parching tongue. That leaves a heart high-sorrowful and cloyed, _ Your leaves, nor ever bid the Spring adieu _ _ For ever wilt thou love, and she be fair!Īh, happy, happy boughs! that cannot shed She cannot fade, though thou hast not thy bliss, _ Though winning near the goal -yet, do not grieve _ _ Bold Lover, never, never canst thou kiss, ![]() _ Thy song, nor ever can those trees be bare Not to the sensual ear, but, more endeared,įair youth, beneath the trees, thou canst not leave _ Are sweeter therefore, ye soft pipes, play on Heard melodies are sweet, but those unheard _ _ What pipes and timbrels? What wild ecstasy? What mad pursuit? What struggle to escape? _ What men or gods are these? What maidens loth? What leaf-fringed legend haunts about thy shape _ A flow'ry tale more sweetly than our rhyme: _Thou foster-child of silence and slow time, Thou still unravished bride of quietness! John Keats : 'Ode on a Grecian Urn' (1820) I heard a reading of this poem the other day, and thought I should post it here, considering it also ties in the with the ekphrasis theme at Overload. ![]()
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