These sounds are an attempt to illustrate the unheard words of one of my favourite poems by the philosopher Nietsche.
Nice definition and clarity
Music and new poetry to discover - win win. Fantastic three dimensional sounds. Epic and tangible.
Very solid, sir. Very, very solid.
: The ground is established
That delay is perfect, whatever you did with it...bravo.
: different levels and timings of delay, I think
Flashes of the soundtracks from some 60s Ed Wood exploitation films, a dancer around a fire.
Trem waves on waves and a beach again.
: There's some muted Les Paul with throbbing amp trem in there somewhere
: Never hurt anyone, a good throb is good for the soul!
I feel for the poor strings after that much whammy, sir.
: The whammy on this new Strat [it's a Fender from Mexico, but hey] is so well set up - the more you whiplash it, the more it seems to like it!
: Every Fender I own Is Mexican - the older ones were literally just final finished there (fret levelling and painting), and the new ones are ridiculously good, especially if you buy a little above the baseline. It's why I can't stomach what they want for the American ones - for the price of the basic correct Jaguar (of which the Marr Signature is the closest), I was able to spend $50 more and get the not-bottom-barrel Les Paul.
: Les Paul Studios are great - I'm having the bridge pick up changed on mine though - it has mini humbuckers, and while the neck one sounds great the bridge one isn't quite there. I just happened to be browsing in the guitar shops in London's Tin Pan Alley, and I heard one of the shop guys playing one of these Mex Fender Strat, and it sounded so gorgeous. I tried it myself it felt even better. It was a reasonable price too. With what I saved on it I bought some Lace Sensors and had those put in there. I think it rivals the American Standard or what not
- had to add that I don't know where I'd be without my Mexican Fenders. They are the best value and possibly the most versatile guitars I've owned. Not fancy but honest quality. I can't imagine spending so much on another US Fender. My Les Paul is a studio and after a pickup change it is also very nice. sounding.
I spent quite a few years using different Squier Strats, and some other Eastern Strat copies. I ended up with something like 5 of them! But I knew that I needed to get a Fender. But I didn't want to spend huge money .... I thought Mexican Strats might not be much different from Far Eastern Squiers - how wrong was I! My Mex Strat is just perfection. Now, what to do with all those Squiers! The LP Studio provides a fantastic platform for such a mod. as you describe. What were you looking for in the pick up change?
My Les Paul came with 490 or 498 or whatever they are and I hated them. It always sounded like I was outside a gig, all muffled and muddy. I was playing with a kind of grunge ish band and needed something that would scoop and do that metalish sound. Couldn't do it. When it got to ordering time I went for PAF style so it could sparkle and sustain but do blues and clean up too. I went bare knuckle out of curiosity and they are really good. Dynamic and articulate.
: I meant I couldn't order metal hot pickups. Not what I'd always hoped for in my first real Gibson LP
Yea, honestly a good Fender's difference isn't the country of origin, it's just the magic of that piece of wood. I had '64 and '65 Mustangs for years, and dreamed of one particular one for years until I found a replacement. It wasn't the expensive '69RI Japanese model (a fine guitar, but....didn't chase the dreams away), but rather a $300 Squier. I haven't played anything with minibuckers in them for years, but one of the things that attracted to me on the Studio HP I got was it had the same pickups as the '93 one I used to have, so I knew what to expect and I'd be happy if the wood was good.
The synth makes this whole section work just right.
: It needed another colour there
Apparently there is a jungle on this island.
: Nietzsche did call the ancient Romans 'jungle beasts'.
: That much is true!
I find myself quite at home in this passage.
: It's a strange agitato counterpoint to the legato langours
Even Nietsche had to pee onto an open fire sometimes.
: Only when Wagner wasn't around
Excellent volley from your bad, bad self.
Oh, that probing single coil.
: There's a clean track of the Strat doing spiky things, as well as another track of the Jag doing similar - celebrating the single coil knife edge
:Heard Fender right off, even before reading your note.
: If it takes the top of your head off and spikes you with steel .... that could be one or two of Leo's creations - a Strat and a Jaguar here
extraordinary, primal and as creative as ever..cinematic in sound painting, Bill
love that stabbing, gated effect
: That's the Squier Jaguar - those guitars sound like nothing else
gorgeous howl right here..goes for days!
: That's an old Framus 8 string lap steel played with an Ebow!
I'm really getting the licking flames from the Strat and the desolation / excitement of self-discovery
- the Strat can do that!
- there has to be that element of transportation, no matter how crazed
, - nothing but evil here!
lyrics
The Fire Beacon
Here, where an island grew between seas,
A stone altar steeply piled up,
Here beneath blackened sky,
Zarathustra lit his mountain fire,
The beacon for mariners driven off course,
The question mark for those who have answers ...
This flame with a white-grey belly —
Flickers its greedy tongue into the cold beyond,
Bends its neck towards ever purer heights —
A raised serpent of impatience:
This signal I placed before me.
My soul is this flame,
Insatiable for new expanses
To blaze upward, upward in silent passion.
Why did Zarathustra flee from animals and men?
Why did he run away suddenly from all settled lands?
Six solitudes he knew already —
But the sea itself was not lonely enough for him,
The island let him rise, on the mountain he became the flame,
Into a seventh solitude
Searching now, he casts a hook over his head.
Lost mariners! Wreckage of ancient stars!
You seas of the future! Unexplored sky!
Now I cast my hook towards all solitary ones:
Give an answer to the impatience of the flame,
Catch me, fisherman on high mountains,
My seventh ultimate solitude! — —
[Friedrich Nietzsche]
credits
from Fountains of the Deep,
released December 27, 2017
Bill Boethius, guitars, bass, synth and drum machine
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