Love the fade section, it takes it down well!
A few fretless guitar squelches at the very end - there were more, but I cut it there: less is more [said with some irony after all that]
Yngwie would disagree. "MORE IS MORE!"
The motor keeps churning into the good night.
It's a circus, heard from the inside of the steam engine mid-show.
:
That left channel warble somehow makes this work.: that's some mangled upper register bass Mutronised, I think
The right crackle at the right time, I approve! - you have to make it sound like the amps are on fire.
Yep, my personal reference point is the night I cooked off an old Fender Champ and toasted the output transformer. For a few minutes before it melted down, it was the most amazing fuzz and presence I've ever heard.
The essence of the doom of metal! - it took a while to get there - I think the various answers you gave to my questions on related subjects helped. There's a kind of wind blast that needs to be in there.
Yep, the spacing and placement is everything for density of evil. I'm looking forward to some experiments in that realm myself once I get the beast rewired here, I found a very cheap ($50 USD) shop that didn't know what they had and that netted me a clone of my main go to pre-amp - so I get to go obscene stereo with parametric EQs gone wrong if I so desire once the delivery guy gets here.
I wonder how one calculates the density of metal? This might be incalculable.
When posed as a philosophical question, it is, most definitely. It is of the order of 'where does Space end', or 'who is a good man?' When making this, I had a playlist of Metal stuff, like Sunn0)))), Sabbath, Grand Magus, Solar Maximum etc., etc., As well as memories of Fripp and Eno's first two [couldn't be bothered to search for the CDs in the house]. Ultimately it is 'The Search for the Lost (power) Chord'. One is looking for the most dense, most dark, most tactile, most flavoursome slab of guitar/bass noise on the planet ... nay. in the Universe. This is just a start ... over to you, Maestro!
One does not simply calculate the density of metal, one becomes the metal!
What a set up!: As described elsewhere, that's Hohner headless GT3 on the top, The louche riffing is the four pick up Revelation Jag, the power chording grind is mainly my Epiphone les Paul [such a dark sounding beast] and my old Ibanez [two tracks of that]. I then had a fuzz boxed Yamaha 5 string bass - all these guitars [ecept the Hohner] were detuned, of course. I also had the synth spunking out low squelches and stutter, and a drum machine doing something similar - with all those tracks, I then went to sculpting them.
Very nice, and unexpected, opening gambit. - the 'acoustic' guitar is my Epiphone 339 semi - mainly heard acoustically through contact mics and just a little pick up to colour. The echoing wow wow guitars are my fretless guitar - the incidental noises my Korg mini synth thing. I had all the heavy guitars to go, but in my mind's ear heard an acoustic guitar opening. In fact the acoustic guitars go all the way through until the end
Safe..encrusted, kish still flying in the air..great work: Thanks for the educational content Nick - learnt a new word in 'kish' - I'll have to work that into a poem!
: Actually, you might like to know that the outro guitar there was done on an Ibanez GRG170DX that I bought second hand for a snip yesterday. It was the metallurgy of this track that made me buy it, and I thought, 'I must add it to this track', so I put that outro on. I love the neck on that guitar, very flat and wide, with high and wide frets, hot pups too. It is the perfect marriage of Fender scale, style and slice with Gibson playability and power.
Excellent! I was for many years a Gibson scale player, but when I got Jackson and Ibanez superstrats I never went back..never played a bad Ibanez yet..
Spectacular section here, Bill: Hohner headless at full throttle - such a great axe for that kind of thing - shame it looks like a cricket bat! The Steinberg trem has a different sound to the Floyd - it seems to go back in very measured and compressed increments and goes wild in similar way
Always wanted one of them..the Carvin Holdsworth new model looks cool too..I bet that Steinberger trem is a work of art!
: very much the art of engineering - doesn't go out of tune, of course - very much a precision instrument
Love the trills...thrill trill
: That's the Hohner headless, kind of a Stenberger knock off, although it has the Steinberger trem and the neck and body are one piece - it's made of wood, which is a good thing. The bridge EMG pick up sounds good for metal things like this
Awesome raw power..captures all the alchemy of metal making..the glorious transmutation. .the heat, danger, excitement, supernature
- I have been working on distorted guitar sounds for a while, trying to mass them up; it's fairly elusive, - helped to think of them metaphor of metals - I believe Fripp and Eno did a track on a similar theme - but it worked here, especially at that point - two Ibanezes, one Epiphone Les Paul, Revelation 4 pup Jag and the Hohner headless on top [EMGs]. Underneath a five string Yamaha bass, a synth bass and drum machine on stutter.
I can imagine you playing this live with one of those big multi-necked guitars, Bill - it would be an awesome spectacle!
n: Yeah - you've just reminded me that Steve Vai took that to an extreme with a four necked ax, the necks going in different directions! Let's face it, even for Mahavisnhu, the double-neck has a lot to do with showmanship - I think the guy in Cheap Trick had a seven necked one - he wasn't entirely serious though
Did you ever see rhe Steve Vai shreds in Denver video? He has that guitar, but someone called SD Sanders overdubbed it. I have never laughed so much.
: I have just watched it and load of his other shreds - great - in some cases I prefer his overdubs to the originals - perhaps because his (non)style is like my own! I liked the Yngwie one a lot, I remember buying the CD of his guitar and orchestra thing years ago and being quite baffled by it. The most interesting thing is the facial and physical gestures made by these players - all part of the showmanship - but then even Derek Bailey had a kind of showmanship - all those prepared guitarists do. That triple neck of Vai's is ridiculous, he has to sit down most of the time to play it. I'm sure he had a four neck one too, at one time.
: Haha! I did not realise that ST Sanders had his own website - I had originally seen them on YouTube. The face-pullers are the ones that work best. I think some guitarists were a bit sniffy about it and had them pulled from YouTube, but good to see them all again - Paco's bongo player does it for me!
: He definitely steals the show from Paco - like the version of Bohemian Rhapsody too!
a crowd standing with arms along their bodys eyes wide open trembling
: Ah you've got it - the religion that is true metal [as Manowar assert - don't be fooled by 'fake metal']. This isn't just a joke though. The track was partly inspired by the humorous book 'The Periodic Table of Heavy Rock' by Ian Gittings, which does have a serious underlying meaning. A recent issue of Wire magazine had a serious article on metal mysticism giving special mention to Sunno))), of course. It is group experience you refer to that is at the root of it though, but there are certain sounds that nurture that, downtuned guitars and basses played through fuzz in layers!
is it sunday?
2: this wants to obliterate all days and turn them into perpetual night ... er, yes.
good for a sunday morning
: - Yeah, a bit of early morning light worship at the metal church
lyrics
A Genealogy of Metals
There are gods of metals.
From metalloids to supermetals,
Ferrous compounds, & pure Germanium.
Metals are seen by many,
As a gift from the gods.
Here I have distilled a few metals,
Smith-like, anvil hammered,
Heat blasted and fired cooled,
And all full of worship.
credits
from Light Worship,
released September 23, 2017
Bill Boethius; guitars, bass, synth
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