![]() ![]() So I started thinking about where could I go from there, and realised doing something really outside to create tension was the best place to go. “You’re right to mention Steve Vai there… that’s totally out of his book! In that solo, there’s a crescendo fairly early on. ![]() The solo in that song ends with a lick that moves up chromatically, almost in a Steve Vai way. It’s so quirky and in an odd-time, but still there’s something about it that just grooves and swings.” It even took our drummer Mike Mangini a long time to hear it in a way that made sense. But he doesn’t understand what he’s doing either ha ha! We had to slowly dissect it and learn it together. “For example, the song S2N starts with this riff on the bass that is so typical of John Myung, where he comes in with something that nobody understands. When there’s a drummer right there with you, even if they play something that’s in an odd-time, you can feel how they’re moving based on all the inflections and syncopation. ![]() Sometimes you can really get into the weeds if you’re by yourself and working hyper technical things out, maybe programming drums or whatever, and that leaves you a little disconnected from the roots and primal aspect of it. You can recognise the nicer grooves a lot quicker. If you’re cranked up and stood next to someone behind a kit, you can feel each other a lot better. “For me, it’s always easier playing with a drummer. If you’re cranked up and stood next to someone behind a kit, you can feel each other ![]() It’s always easier playing with a drummer. One of this album’s major strengths is the odd-metered riffs and the groove they have what’s the secret to making that combination work so well? ![]()
0 Comments
Leave a Reply. |