Suspended in acid!
- astute observation! Time has definitely been given the slip here - but then time is just a construct waiting to be deconstructed
: Very very true, hence why music is magic!
Well I'm really enjoying how you have taken the blues idiom and washed all the hackneyed phrasing out, scuffed up any pentatonic boxes and bejewelled it with angles, quarter bends and mystery..most refreshing
I love the sauntering around here.
: It's like a heavy gas poring its way through a subway
: It's peculiar, like all the sounds are searching for something but they know not what
: Oh, those sounds sound like they know exactly what they're there for. Just waiting for the right moment to arrive.
: Very devious
tones of abandon, w/ gamelan mist.
Bold, revealing, Brilliant ! I'm welcomed by the vacuum of self.
: Very perceptive ... a little too perceptive! I mean that respectfully; I am uneasy about what this track reveals ... but then that's because I am uneasy about my 'self' ...
a beautiful angularity on your lines, which also seem quite vocal today.
: that auto-wah sound and the pokey linger of the notes seem to encourage it - also the Dean guitar makes for a bluesy approach [strange, as it's a metal guitar]
:by the way, there are no innocent blues solos, are there?
: I did hesitate when I used the word 'innocent'. But I used it in the sense of child like - a supramoral perspective, where darkness and light are not thought of - it is purely 'of the moment'. The dark intent came later, transforming the piece into something non-innocent ... 'guilty', perhaps.
: Actually, I think it is a serious question: can there be innocent blues? Isn't the blues inherently un-innocant in all senses of the negation? Isn't it ridden with guilt-complexes, and isn't it the sole province of experienced men [and by experience I mean 'bad experience']. And so using Blake's dichotmoy [Blake was surely a bluesman], 'Songs of Innocence and Experience'. So, yeah, you caught me out - you exposed my deceit. Of course, this track began as dark as it ended up
It's a rainy morning on the rocky Maine coast (for real, that's where I am). An eagle emerges from the fog and stands guard atop a bare tree (also for real), and this is a fine soundtrack.
Mr. Beefheart would approve I suspect.
: Good excuse to repost Don's 4th Commandment for Guitar pickers, which you so kindly alerted me to: 4. Walk with the devil Old Delta blues players referred to guitar amplifiers as the "devil box." And they were right. You have to be an equal opportunity employer in terms of who you're bringing over from the other side. Electricity attracts devils and demons. Other instruments attract other spirits. An acoustic guitar attracts Casper. A mandolin attracts Wendy. But an electric guitar attracts Beelzebub.
It verges on becoming something beautiful that's not dark, then the nature of the piece wins out.
: It began as a very light and airy blues solo on a Squier Strat, using the trem arm and various echoes and delays etc., I added the bass and then the Dean auto-wah lead. It was very much in the area of Don's first commandment, the birds. Then a dark shook me and I put the low guitar accents under it with the Paul - totally relishing evil and speaking into the mic through a fuzz box.
Then it became The Forbidden.
lyrics
The Forbidden
I summon the gods of darkness.
Use your hammer well!
Hammer your nails into the limbs of the limp ones.
I call upon the strong
Dark
Gods.
The gods who feed upon burning flesh.
credits
from Dark Engines,
released December 17, 2016
A very nasty dark piece which grew out of an innocent blues solo on a Squier Strat.
Through the magick of transformation it became this .... vile thing!
