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Practice Report – Further Out to Sea

October 9th, 2009 No comments

Another great practice tonight, which found us pushing the new fistful of original songs further out to sea. Same as last time, we started in our usual fashion – Link Wray’s Rumble, followed by a couple choice originals to knock the rust off – then threw in Planet Collision simply because it’d been too long and the song is too much fun!

After that we dove immediately into the new ones to keep the writing going. We ran through Can’t See the Loris from the Trees several times to further lock it in, and I think that if we had to play it live tomorrow, we could pull it off. I can’t wait for everyone to put their ears on this one, because it has a groove to it that’s unlike anything else we’ve written – a nice, bouncy pocket that floats along, with an ending that no one will see coming, despite the fact that I just told you it will be. For my part, I’m still playing with style and tone to find what really fits the song, but that’s mostly gravy because the tenderloin and tubers are on the plate.

Next up was the untitled one heresofar nicknamed 311 (I really need to take a gander at the Master List to nail down a fitting title for this one!) While it’s not quite as held-together as Loris, we’ve pretty much locked the arrangement, so it’s mostly a matter of whittling a guitar solo that fits, putting it on repeat and shoring it up.

Again, though, the surprise of the night was our Spaghetti-inspired opus, Butch Cassowary and the Sundance Echidna. Last session we made major headway on adding in several parts that threaded from the intro to the “Shootout Riff” laid down by the Chilean Surf Bass. We came into tonight with a major gap between that riff and the rough outro, but I’m happy to say we’ve plugged that gap in fine form! We were able to tap into the deep delta blues heritage none of us have to create an ascending, call-and-response feel that takes us right into the faux-cinematic madness needed to cover our proverbial ride into the sunset. Not willing to leave well enough alone, we also pushed the outro – alright, I’ll just call it what it actually is, a denouement – further than we initially planned to and found a nice dynamic build that really wraps up the song.

I have to say that, personally, I’m really happy with how Cassowary is turning out. From the start, it felt like it deserved to have a very broad, epic feel to it – we even joke that we’re writing the score to a film that’s never been shot – but I really think that, after tonight’s session, we’re pretty close to accomplishing that. There’s a very filmic progression to the music that makes sense, and while it is immediately reminiscent of brilliant Morricone gems ingrained in our instrumental conscience, it has much more heft to it than a thinly-veiled Good/Bad/Ugly rip. Hopefully it translates to listening ears like that, but as the simian behind the six strings, I’m smiling.

Lastly, we worked on arranging the working-titled Drumbuie in various Punnett Square configurations. I think we’ve found one that seems to best balance the dominant and recessive alleles into a favorable outcome, and the Chilean and I spent a little extra time working out additional traits that should prove advantageous. It must be said, though, that already The Drumbuie is absolutely killing the skins on this one! It’s always a joy to hear him throw down the tribal magic, but this one is shaping up to be something else entirely – the type of song that if you heard it pounding through the jungle, you’d immediately revert to flight instincts but would be held in place by the compulsive need to dance like a Bantu gone mad.

Mmm… that’s some good animist witchcraft!

We ended the session with a discussion of finally putting AustraloPhilanthropy into effect in a very cool way. We’re going to make calls and mull details, but hopefully we’ll have a choice announcement to make in the near future.

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