From the album At This Distance
Lyrics
Instrumental
Notes
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The inspiration from this song came from The Smashing Pumpkins. I’ve always really loved the chords that Billy Corgan played at the beginning of Porcelina of The Vast Oceans and I wanted to see where I could take it from there. At the time we wrote the album, we didn’t have a bassist, so either Jim or I would figure out a bassline and go from there. I remember coming up with the bass for this song fairly quickly, and I really liked it…but none of the real bassists that joined the band later had any real interest in it hahaha. The solo was the first time I really realized how cool multiple feedback tracks could sound together. I knew I wanted to have some kind of dreamy, washy feedback solo going (another nod to Corgan), but heading into the solo, I had no idea where to take it, especially since I have no idea how to improvise. Pat Fleming had a bunch of pedals into the studio, and we hooked them all up in a chain and twisted knobs until it sounded weird. I remember thinking it was a pretty insane amount of pedals at the time – distortion, a couple delays, phaser, tremolo, but there were definitely more than that – I know there’s some feedback and even Ebow going on somewhere in there too. I did one take, we listened to it, and it was ok, but nothing special. I headed out to do another track, and after that one, Pat just said to stay out there and try one more take. I did a third take, and came into the control room to pick out the best take and just leave it there. Hef and Pat hit playback, and I was totally floored, because I didn’t remember any of my takes sounding that good!! That’s when Pat said that he had all three tracks going, and a light bulb definitely clicked on in my head right then.
Rug (click to hide)
The inspiration from this song came from The Smashing Pumpkins. I’ve always really loved the chords that Billy Corgan played at the beginning of Porcelina of The Vast Oceans and I wanted to see where I could take it from there. At the time we wrote the album, we didn’t have a bassist, so either Jim or I would figure out a bassline and go from there. I remember coming up with the bass for this song fairly quickly, and I really liked it…but none of the real bassists that joined the band later had any real interest in it hahaha. The solo was the first time I really realized how cool multiple feedback tracks could sound together. I knew I wanted to have some kind of dreamy, washy feedback solo going (another nod to Corgan), but heading into the solo, I had no idea where to take it, especially since I have no idea how to improvise. Pat Fleming had a bunch of pedals into the studio, and we hooked them all up in a chain and twisted knobs until it sounded weird. I remember thinking it was a pretty insane amount of pedals at the time – distortion, a couple delays, phaser, tremolo, but there were definitely more than that – I know there’s some feedback and even Ebow going on somewhere in there too. I did one take, we listened to it, and it was ok, but nothing special. I headed out to do another track, and after that one, Pat just said to stay out there and try one more take. I did a third take, and came into the control room to pick out the best take and just leave it there. Hef and Pat hit playback, and I was totally floored, because I didn’t remember any of my takes sounding that good!! That’s when Pat said that he had all three tracks going, and a light bulb definitely clicked on in my head right then.