including a Buzzard, which is a real nosedived
They did block inlays for me because the LEDs
weren't my scene. It's unbelievably hot: it's the
one you pull out in the studio if you're looking
for the sound of a car crash.
features some pummelling but
melodic bass parts: clearly the McKeegan/
Dalgety combination is a powerful one.
“The bass trading went pretty smoothly,"
notes our man. “Tom used a Radial
Bassbone as a DI and we varied between
a Sansamp, a Rusty Box and a Boss
Blues Driver to provide some additional
grit up front. For most of the songs
we just did a couple of run-throughs
until we got a good one and then
patched up any bits that we felt
had drifted. It's funny - after we'd
recorded the album we noticed that
one of the middle eight sections was
slightly out of tune, so I recorded a
new part at home on a Vintage Icon
Precision and emailed it to Tom. He
re-amped it and managed to slot it
perfectly into the song."
Any fave bass parts that we
should look, out for? “It's in no
way obvious," he chuckles,
“but the inspiration for the
noisy, trippy mid-section of
'Still Hurts' was meant to be
a Ding Crimson-esque take
on the bass-line from Roni
Size's 'Brown Paper Bag'. Tom
humoured me on that one.
also on the closing tune,
'Deathstimate', which Andy
came up with on the hoof
in the studio, I'd only just
learned the bass part and
then had to play it for
the whole three-minute
outro. No cut and pasting
allowed at all!”
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