From the album The Lines of History
A ghost embrace, just beyond our arms
Such beds are cold
As thoughts to weigh heavy on our hearts
Lie still, untold
Wane, so desperately, you want to love another
A ring of gold
Feigning destiny, the tie to bind another
To make you whole
Unto yourself, one more scar you’ll keep
Unto yourself, another scar you’ll keep now
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I’m really proud of this song, even though I didn’t really write any of it. I think it has some great dynamics, and it melds three different vibes really well (spacey intro, heavy middle, ballsy rock outro). This one is a lot of fun to play.
I gotta say, though…one of my favorite things about this songe is how perfectly The Gayest Riff Ever fits over Rug’s tapping intro, out of sheer coincidence. Don’t know The Gayest Riff Ever? Well, next time you see me with a guitar ask me to play it for you and I am sure you will have a hard time thinking of a gayer riff.
I’ve played it a few times in practice and we all laugh hysterically…well, all except Rug, who’s always firecely intent on playing the tapping part perfectly.
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I’ve mentioned this on other song notes, but I really love tapping. The sound of big, extended voicings is something that really appeals to me, and tapping is a great way to facilitate that. I’d come up with intro tapping lick, but didn’t really know what I had, other than it sounded really pretty. In order to keep things flowing along, I dropped the tapped notes, and left the fret hand fingering mostly the same, and found a nice fingerpicking pattern to just ride the chord out. From there, it was just a matter of moving that chord shape/voicing around the neck and finding where it sounded good. I’m sure there is some theory that could explain exactly what happens right there, and *why* it sounds good, but it just seemed to work when I listened to it. Maybe someday I’ll graduate to actually knowing what happens there, but for now I’ll let my ears decide where to go. The intro and verse are a great example of how you can take an idea, and with a few alterations end up with almost an entire song. Also, this song was the very first thing I’d recorded with my new delay pedal – the Eventide Time Factor. I kid you not – that thing is God’s own delay pedal. Hands down the best, most versatile delay pedal I’ve ever played with. It can seriously do anything. The second half of On Weathering was inspired by the Time Factor, not 5 minutes after I’d plugged it in for the first time. More on that later.
The solo section I’m pretty pleased with as well – the solo on Candiria’s “Icarus Syndrome”, on Kiss the Lie, is one of my favorite solos of all time, so naturally I wanted to cop the same sort of feel. While no one will ever listen to my solo and say I’m ripping Candiria off, or that my solo is better, the solo in Icarus Syndrome is incredible because of what it does to the song, and I really tried my best to do the same. Again, I don’t know theory, so I just hacked around until I came up with something I liked.