The Arrs dans sa [url=https://www.visual-music.org/news-24146.htm]nouvelle version[/url] va sortir un album à l’automne qui s’appelerio « Soleil Noir«
[b]Quasar[/b]
[i] “It was one of those riffs that we had laying around for a while. Actually, I think it went back to when I started working with Mike Byrne in 2009. The original riff was called ‘Nero Riff-O.’ So it sat around for a long time, and I was finally able to turn it into a song.
[/i][b]Panopticon[/b]
[i] “Ultimately, I just sat down and wrote the song on the piano. Sometimes, when you’ve got a riffy song, it helps to just play the chords with no rhythm, and then you hear the ‘song’ in it. It’s those very Paul McCartney/Wings-type chords – Broadway-type chords.
[/i][b]The Celestials[/b]
[i] “The arrangement is kind of like classic MTV, circa 1994. You start with the acoustic and then the band kicks in grunge. I was kind of laughing about it at the time.”[/i]
[b]Violet Rays[/b]
[i] “This song, in particular, really shows what the band is bringing to the table. There’s a certain vibe and ambience that’s very much them. There’s a lot of parts to it. We’re rehearsing it right now for the tour, and we’re like, ‘What the fuck is going on?’ [laughs][/i]
[b]My Love Is Winter[/b]
[i] “My guitar solo is triple-tracked. On stuff like Pinwheels, there’s lead guitar work by Jeff and he’s double-tracked. To me, if you’re going to double or triple-track a guitar, it’s got to be the same person, unless you’re Judas Priest or Iron Maiden. There’s a certain sound they get because they’ve played together, so their doubling works, even if it’s not a perfect double. But there’s an effect you get if it’s the same person – it gets really loud in the track.[/i]”
[b]One Diamond, One Heart[/b][i] “I really liked the track, but I think at one point it was very keyboard-heavy, and it was only going so far in my mind, so I went to Nicole and said, ‘You’ve really got to pull a rabbit out of the hat. You’ve got to make something happen.’ She sat down, and in two hours’ time she wrote the bass part. That, to me, was the turning point.[/i] [b]Pinwheels[/b]
[i] “That’s all Jeff’s guitar stuff at the end. What I love about Jeff as a musician is, he’s always learning, he’s always pushing himself. Technically, he’s far superior to me, but where I’ve been able to help him is, not to just say, ‘Study this guy,’ but to explain to him why I think a particular guitarist would help him. And he came back and said, ‘I’m really understanding why you asked me to listen to this guy.’
[/i][b]Oceania[/b]
[i] “For the longest time, we just had the opening figure and some other parts. The way that it’s broken into three sections wasn’t the original intention. It was meant to be a long song, but we were like, ‘This is going nowhere.’ So the arrangement that is there came together the day we recorded it. I just winged it. We felt strongly about it, and that was it.[/i] [b]Pale Horse[/b]
[i]“A lot of times when you have that kind of riff, you don’t want to get too tricky. It creates a hypnotic effect. You don’t want to change keys too much, so I leaned back on some of those artists who used space well. In old Pumpkins ideology, if you started with that riff, the song would get bigger and louder. In this ideology, it actually gets smaller, and that’s how you get the dynamic back up.”
[/i][b]The Chimera[/b]
[i] “We were recording drums for something else, and there was a problem with the snare drum. I had 10 minutes where I was just standing there with a guitar around my neck, so I started playing a riff. Mike just went, ‘Oh, man, I love that riff!’ I was like, ‘Really?’ So to be a show-off, I quickly arranged it into a song. Mike was all for it, and within a week we were recording it.[/i] [b]Glissandra[/b] [i] “Honestly, this is another song that happened when we were sitting around in the studio, waiting for something to get fixed. I started playing the riff, and we were all thinking, Oh, that’s good. I went home and wrote the melody and some of the lyrical content.
“The next day, I played it for Nicole on acoustic guitar, and she almost started crying. She said, ‘God, that’s so beautiful.’ And I was like, ‘OK – that works for me!’ [laughs] Heartache never gets old.
[/i][b]Inkless[/b]
[i] “The solo… I remember we were mapping the guitars out, and I decided to just leave all this space for some reason. People would say, ‘What’s that for?’ and I’d be like, ‘Oh, I’m going to put the solo in there.’ It’s pretty unusual, the drop. You hear it on Queen records because of the nature in the way they worked, but it’s pretty unusual in most modern music to hear no rhythm guitar at all. But I love it because you can really hear the texture of the sound and take the journey of the crazy bends.”[/i] [b]Wildflower[/b]
[i] “After Mark died in the early part of last year, I found myself going back through the tapes of all the stuff we did, kind of mining for forgotten riffs and also taking this weird walk down memory lane of how he’d impacted my life. I came across the song, and I thought, ‘I’ve just got to do something.’ I specifically remember Mark, when I came up with the idea for the song, he was like, ‘I love these chords! It’s so cool, the way you put the chords together.’ He would always say, ‘How do you come up with this shit?’ [laughs][/i]
