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Powerful here: It went out on that power chord almost by accident
Love all this! You cook a spicy dish.

inspiring track

love how this screams from the first second! :No build ups on this one - full tilt with ebb and flow - a piece of space nature

Oh such a cool fast section before the doom chord - I''l call that last chord a Doom Cadence now -

Bristling airwaves. ..: It's a weird contrapuntalism

Alien parley par excellence!: It's an unearthly language as yet untranslated!

Love the way you've placed the guitar deep into the shadow here - its a kind of bluesy riff played on my Revealtion 4 pickup Jag, so it's the third tier guitar, with the 339 on top, Les Paul next, and then the Jag - its pushed back with reverb, but I wanted that bluesy riff to just poke out there.

I'm enjoying these fast finger stretch lines...

intriguing and slowly tormented, as always!

what? it can't be a guitar with those intervalic leaps. can it? a keyboard perhaps? No, it is a guitar - I've always thought that intervals were more important than scales - string skips and so forth - helps to tune differently too. Ah, tuning! That might be what I was reacting to. Clever, clever. And really worked well!
: It is years since I played a guitar in standard tuning. I really hate that major third - a pesky interval, and it forces you to play like everybody else [well, with exceptions, but I'm generalising to make the point]. Quite often I will just randomly tune the strings, not even taking stock of what they are tuned to. In playing these lines you want to have the widest intervals you can. I know that Fripp has done a lot work on tunings, and uses a kind fifths tuning - but then string players tune in 5ths - that's such a great interval. That G-B third in the guitar is only fit for Spanish music PS I like Spanish music BTW - I'm just saying that the standard tuning suits that kind of music most. Why use it different types of music?: Spanish music, and American "Country and Western".

you are playing that in a most horn-like way. and that theremin sounds scared shitless! Yeah, that antagonistic contrast quickly suggested itself and became the central idea of the piece

there it is again - wow. what's that? the "lead" instrument?
: That's my new Epiphone ES339 - it really is a dream come true [there's some shots of it in the track pic]. It's the closest I'll probably get to a Gibson 335. The wailing lines are the Les Paul, but these skittish runs are the 339
: I'll have to check that again? How was it treated sonically? Those lines were fantastic, very non guitar cliche.
: I worked on the sound for quite a while - the 339 is like a slightly scaled down 335, and it has many of its attributes. Whereas the Les Paul will sustain forever, which is great, the 339 notes pop out, but very rich. So I worked on that, wanting that neck pick up sound but with bite. The basic set up was faux AC30 top boost, with the Archer in front of it, a touch of reverb. The lines were intervallic and free form. I double the guitar lines and put some delay on the double, EQ'd it differently, very slightly tweaked the pitch
: Very nice work. What is the Archer? I had a 335 once. As you can imagine, I didn't use it this way.
: That is clean to dirty overdrive pedal, based on the fabled Klon.
: You had a 335? - tell me more, I'm in semi-acoustic mode

I can almost see some Deep Purple organ coming in here.
Deep Purple In Rock is one of my benchmarks - and live versions of Space Truckin around Made in Japan era. Apparently Jon Lord decided on 'if can't beat 'em join 'em' and started to put his Hammond straight into marshall stacks. IStrangely I was thinking about that sound when I was putting this down. You have to be the most perceptive listener
: I mean I was actually thinking of putting some faux Lord organ right there, but I couldn't get the sound
: It's a case of I know that era Purple (and don't have a use for much else in their catalogue) - my old partner in crime musically loved the live Space Truckin' era stuff.

That theremin is right on target!: - I must credit you for getting me into the theremin, if belatedly. On a old track I did you said of a slide part that it sounded like a theremin - got me thinking; many of my slide and whammy parts have thereminic tendencies, so why not go for the real thing?
: Yea, I sometimes pull out the keytar's laser sensor that can do Theremin-like stuff (can assign a monophonic synth to it) myself, which is the only thing that's kept me from getting a real one!
From what I've read, Bob Moog was originally involved with the Theremin and conceived his synths along theremin lines
: Not sure, I know the original stuff is Russian and pre-WW2, maybe that's what Moog started building early.
: I think the Theremin was patented 1929, or thereabouts, but never really caught on because it was (is) difficult to play - so by the 40s there was little interest. So in the post war period, inventors were looking to how to harness the theremin sound and scope to a keyboard. There were various attempts, and this is where Bob Moog comes in in the fifties, he begins by making theremins and tries to adapt them to a keyboard - this leads to the Moog synthesiser. Going back to the difficulty - thing; they're only difficult if you want to play Western tempered scale, equal temperament etc. - - but to those of us who don't : Note my potted history and oversimplification!
: Yea, as a "plug this into a pile of toys" device, I will end up with one some day I suspect!
: The Theremin has an aspect I hadn't thought about until I got one, and that is gesture. You as a mage and a conjuror would have a field day with one, as it works like a wand! So that's what you miss out on with a synth.
: Yea, I might have a hard time avoiding my inner ten year old and just give it obscene gestures all day though too!

Almost horn makes this thing fly. - are you referring to the fast 'jazzy' lead passages? That's my new Epiphone ES339 - first real outing on that - love the way you can get a kind of staccato that is nevertheless very rich and full

The radio station in space has been transmitting this over and over - are the engineers still on air?
: Hah! what engineers! This is the sound of space itself - space is an enormous radio station - does that work?
: That does!

lyrics

In deepest starmoot

Continuing the theme of The Ancient Ambassadors of Eternity, to which this is a sequel, we follow the Ambassadors as they reach the furthest, darkest and deepest star.

Probing the planet’s surface they reach the inner habitations to parley with the strange beings there.

This is part of their conversation.

credits

from The Ancient Ambassadors of Eternity, released July 22, 2017
Bill Boethius, guitars, Theremin, bass and drums

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Bill Boethius & Dali's Car London, UK

"The Dali of guitar noise".
Poetry settings, Cinematic Sounds:
Strange Blues:
Cosmic Jazz:

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