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Thomas - I thought it suitable to take some time to experiment with my effects pedals liberally again on this record. The whiny guitars that morph into disjointed prog-metal, created a perfect challenge to weave in the finger tapping, as well as the fact that we are all playing in different time signatures all over this song. It brings to the forefront the effect of all three parts of the band going off in their own directions, to perfectly line up at the perfect moments, to just repeat the process until we reach critical mass with the monologue, where all but bass/dark synth pad/and vocal take over for a bridge that takes it all the way home for a strong ending.
Andrew - I have always had a lot of fun at stoplights with my turn signal on, trying to play with the time-signature of an unending clock, and the drums for this song reflect that. I had to play to click track in the studio for these songs in order to make the process work, and so I just fell into my classic routine of trying to play with time signatures. It's always a challenge to write something that is not in a standard time signature, but that also has groove and allows you to nod your head along. We always have tried to keep even our most out-there parts in a space where they can still be rocked to, and I spent a lot of time on this song checking to see if that was possible (I think it is). There's a little fill in the first break-down that we call the John Otto part because we can always imagine Fred Durst yelling "Otto, play that beat" right before it. The second breakdown we call the Helmet part, because it reminds me of their song Unsung. Sometimes influences just push their way into a song, enjoy and embrace it!