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Bill Boethius with Lynn Kalley Ingram, vocals - Little Orphic Annie

from Alchemical Scents by Bill Boethius & Dali's Car

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about

Starting point was Lyn Kalley Ingram’s reading of ‘Little Orphant Annie’, which has that perverse dark underbelly of all nursery crymes, sorry, rhymes.
[Lyn-kalley-ingram – Little-orphant-annie-james-whitcomb-riley-1885]

I also made the association with the Orphic art of the Delauneys with the proximity of the variant ‘orphant’ and ‘orphic’, and how life and art are essentially orphaned and orphic states.

I am your Orpheus.

:
sludgy still chilled, oh and a remarkably great fuzz sound to the bass and guitars
Strange, I feel I'm still working through the gamut of clean - overdriven - distorted - fuzz - splat! We all start clean [well I did!], and then we study these various levels of 'dirt' - in the way that classical musicians might study different scales and arpeggios etc., So you try and weigh up the level of overdrive, and what it does to the sound - the colours it evokes or obscures, and here I have gone beyond overdrive [where I've been at for some time] with one foot in distortion and dipping the other toe in fuzz ... but we have to respect fuzz - have to go through that test to get to splat - I mean using these textures and body sounds to convey things and not just go 'fuzzzzzz' or 'splatttt' - very similar to a painter using a pallet knife etc., and just layering on paint where it becomes physical - I suppose that's why fuzz and volume go hand in hand - the sound gets more and more physical.

The wolves howl.
Yeah - there are all kinds of familiars on this - wolves, bears, ravens - the best teachers for sounds

Kept waiting to hear the pop of a broken string!
Some guitars, you can just bend the strings forever - the Dean and the Gibson Les Paul are like that and used here - my Epiphone Les Paul is a lot harder which is why I use it for all the dark, low, dirty chordal textures - it really does that stuff well
Yea, sometimes the fight is what makes it fly!

Almost going fusion for a brief spell.
Yeah - I like dirty fusion, like Lifetime's Turn it Over - this guitar solo came out well - played it on the Dean guitar and had it double tracked at slight dissonace etc.

That's a nasty little fuzz, seems almost familiar!
Furtkamp influence? My Epiphone Les Paul through a J Rockett Archer pushing an already breaking up amp - what a great pedal
Amazed it got that, I may have to look into one. I'm usually not very hot on boost pedals beyond the classic treble booster, but...that works. Of course, foolish me just ordered the Boss CE-2W thing...the anti-boost!
The Archer has clean boost, and then after 12 o clock, overdrive - so it is a clean boost and overdrive in one - and by playing around with combination of gain, output and tone, could get this menacing sound - the Epi Paul is a beast too, though. Getting into the clean - dirty - clean, or dirty- clean - dirty chains

Excellent textures Bill!
, this one continues my experiments in trying to layer distorted and overdriven sounds

The HEAT! Ahhhhhhh bliss
yes, that deep southern saturnine heat where everything is too much, but never enough

lyrics

Little Orphic Annie

Unravelling blues, violets, pinks, and beige,
My soul is a rainbow in absentia.
Absinth pages, green, and golden snow,
Little Orphic Annie came to Arhus to stay.
While vertiginous goblins gambolled along,
And had their way with her again,
In crimson flow and cosmic pain.


"Little Orphant Annie" is an 1885 poem written by James Whitcomb Riley

Little Orphant Annie
Little Orphant Annie's come to our house to stay,
An' wash the cups an' saucers up, an' brush the crumbs away,
An' shoo the chickens off the porch, an' dust the hearth, an' sweep,
An' make the fire, an' bake the bread, an' earn her board-an'-keep;
An' all us other children, when the supper-things is done,
We set around the kitchen fire an' has the mostest fun
A-list'nin' to the witch-tales 'at Annie tells about,
An' the Gobble-uns 'at gits you
Ef you
Don't
Watch
Out!
Wunst they wuz a little boy wouldn't say his prayers,--
An' when he went to bed at night, away up-stairs,
His Mammy heerd him holler, an' his Daddy heerd him bawl,
An' when they turn't the kivvers down, he wuzn't there at all!
An' they seeked him in the rafter-room, an' cubby-hole, an' press,
An' seeked him up the chimbly-flue, an' ever'-wheres, I guess;
But all they ever found wuz thist his pants an' roundabout:--
An' the Gobble-uns 'll git you
Ef you
Don't
Watch
Out!
An' one time a little girl 'ud allus laugh an' grin,
An' make fun of ever' one, an' all her blood-an'-kin;
An' wunst, when they was "company," an' ole folks wuz there,
She mocked 'em an' shocked 'em, an' said she didn't care!
An' thist as she kicked her heels, an' turn't to run an' hide,
They wuz two great big Black Things a-standin' by her side,
An' they snatched her through the ceilin' 'fore she knowed what she's about!
An' the Gobble-uns 'll git you
Ef you
Don't
Watch
Out!
An' little Orphant Annie says, when the blaze is blue,
An' the lamp-wick sputters, an' the wind goes woo-oo!
An' you hear the crickets quit, an' the moon is gray,
An' the lightnin'-bugs in dew is all squenched away,--
You better mind yer parunts, an' yer teachurs fond an' dear,
An' churish them 'at loves you, an' dry the orphant's tear,
An' he'p the pore an' needy ones 'at clusters all about,
Er the Gobble-uns 'll git you
Ef you
Don't
Watch
Out!

credits

from Alchemical Scents, released May 21, 2017
Lyn Kalley Ingram; vocal,
Bill Boethius, guitars, 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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