![]() It’s a common thing in the studio to start on one demo and go in different directions but end up liking both and not knowing which to choose. We managed to cover most of the songs on the album properly. In this interview Tom talks at the same pace as he plays his music, which was both thankful and professional. Both ‘Water’ and ‘Waterfall’ have the same spine, but have two totally different directions in terms of how they finished up. After a full day of promotion, a job that the good Tom Angelripper likes, he is still in a good mood at 18:30. We work with Clara a lot and even from the early ‘Waterfall’ demos we had vocal sounding pads in there which we had in mind for her to sing along with. “We always like to be fluid with ideas and never stick to one direction, when we play live we develop tracks and constantly tweak and change elements and like to employ that process in the studio too. Weirdly it got more computer game sounding when we developed it into ‘Water’, speeding up and slowing down the lead line and LFOs to give that classic low-bit sound effect.” It’s a new synth but has chips inside which formed the sounds of the SEGA Megadrive/Genesis games consoles. “There was no outright idea when we started, but the original “Waterfall” was born out of experimentation with an instrument called the MEGAfm. ![]() Intriguingly, Bicep also cite vintage computer game soundtracks – think the SEGA Megadrive – as a key influence on the track. Twinkling electronics with subtle melancholic overtones, the track is bolstered by a terrific vocal from Clara La San. ‘Water’ emerges from the same creative period as ‘Isles’, but feels like it exists on its own terms.
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