Hey man, you like to excruciate your axe and I like you to do it!
: Excruciate and crucify, accuse, abuse and misuse - all the way - the guitar sings better after a beating
Agitation Φ says: a moment of cosmic joy. two pieces that came in mind at this place: Stockhausen - cosmic pulses, Sun Ra - cosmic chaos. sirius awaits
Your references are incredibly deep and illuminating. I have just listened to Cosmic Chaos and Cosmic Pulses [the parity of the titles is uncanny], and note the moments of density, and how that density somehow produces clarity rather than confusion. The overlapping which produces eruptions of 'cosmic joy' as you say. I also note the use of cymbals in Sun Ra [also interested in the use of bass clarinet there which prefigures Bitches Brew]. In a few lines you have placed before me two masterpieces - your spirit is immense
here these high notes almost take the shape of a theremin.
i love how you paint these tones into the time current. always an exotic pleasure to listen
yes - the Theremin shapes sounds with a wave of the hand ... with a flutter, rather than the firm grip of finger on string behind fret; but here I want to get some flutter in the sounds ... I like the term 'time current' - there is a fairly regular bass line on this, in a slow walking time - but again, I want flutter around that regular step, maybe like a bee .... a hummingbird? the human tendency is towards regularity because that is how we learn to survive, to communicate and so forth, but there are huge gaps that we can aim for which are at all sides of the beat and note, like John Lee Hooker's uneven blues .... there is something exotic here ... it is of the Orient but doesn't try to mimic oriental norms ... it is down to the flutter of the wings of sound
nice descending finish - don´t forget to plug out your guitar cable at night....very impressing work, glad to hear such noise virtuosity
I like the oxymoron - "noise virtuoso"! - I hope my virtuosity always serves noise! I can't stand to use the word 'music' for these sounds; believe me, any virtuoso sounding stuff is purely accidental!
:
Impressive sounds on timeless flowing...
yes, the chromatic bassline is an eternal cycle ...
my, you were on that day!
: I hardly remember playing those fast flurries - that's how on I was
it's all falling down, and fast
There was a judicious cut here, which actually jolts the piece, like a Taser bolt, and it rages towards its demise
particularly nice playing, melodic and tormented all at once.
That was the Ibanez [I only put the first Epi solo up an octave] - note that difference in tone, and a fluidity which is natural to the guitar. In terms of style, I recollect always trying bend away from the usual sweet targets, up or down a microtone, - like being mean to someone you love out of Sadism
great guitar sound, that elogated squeal, what makes it?
: trade secrets! this is a whammy pedal set an octave higher, so everything is an octave higher than played. The guitar is an Epiphone SG which is pretty hot - I got it a couple of weeks ago after chancing upon the Ibanez GAX - being a Strat man for most my days, i suddenly discovered the joy of a short scale double humbucker LP Special/SG type guitar - those things really whine and roar. This piece has both the Epi and the Ibanez soloing - it was originally done just to contrast them - the EPI is hotter, but the Ibanez has that woman tone ... So putting everything up an octave like that [and the whammy pedal squeezes the tone too], and with lots upper harmonics, and then just bending the strings and using a metal flat pick ...: just to add, the whammy pedal is nice because you can slightly alter the pitch - destabilise things - as you can tell, I'm no friend of equal temperament. Also there's something I often do in post-production {i assume everyone does this as it was started by Jeff Beck] and that is duplicate a guitar line [so you have two identical tracks playing at the same time] and then alter one of them. Change the pitch or tempo very slightly [or extremely] add delay etc. - the possibilities are endless.
:
here it comes It's an ominous wurm ..
Don't know why, but I really like the cymbal placement. Something's dead on right there.
: I could hear the need for the crisp cymbals to contrast with the dark guitars and bass; but the pulse of the cymbal pattern echoes that of the guitars - also works on the fade out too
lyrics
DEMONS DUG OUT
SO THIS IS WHERE YOU HIDE, DEMON?
DUG IN, TO BE DUG OUT.
GROWING ROOTS IN THE DARK,
DIGGING IN
A BASEMENT OF SWILL ,
ABASEMENT,
DEGREDATION AND ILL.
AH YOU KNOW ME!
TO THE LIGHT I SHALL CLIMB
AND GOLD I SHALL MAKE,
OUT OF SLIME!
Began as a Slow blues guitar solo [don't they all?]
