Electric Wandarian
The performances continue to inspire an endless supply of ideas. This has always been a fear, and I’ve lived with the feeling that if I don’t play everyday, it will all slip away.
I am writing before today's Obscura session as this evening I am heading into the studio to finally mix a record. For the last 8-9 months I have been labouring away at an electric Wandarian album. Initially I didn't have much intended as I didn't know how the technique would translate to the electric guitar. I had one early on half-hazard attempt going electric and it sounded dull so I gave the idea up, never thought much about it again. I like the limitations of making these sounds simply with the acoustic instruments. I am not certain what compelled me, but on the evening of November 18th, 2018, I had a session booked to record a set of classical guitar material in the Camera, which I did, I aim to release this at some point. However, Charles arrived early that afternoon and I my set up my amp and my old 65 Jaguar all set up and just to see what would happen, he threw up a mic or two and pressed record.
I tracked about 6 or 7 songs, an hour of material that afternoon and gently explored the possibilities of an electric album. I kept going deeper. I found an inroad when I altered another capo. This tool allows for subtle and drastic variances of tone, feel and vibe. The album is comprised of 3-4 different sessions with unique setups for each. A few surprises along the way a few revelations and a myriad of new future directions to head in. The amount of work I have put into the electric album is astonishing, but it is my favorite kind of work - exercising passion.
The parameters are still firmly in place. No overdubs, no effects (other than reverb) and all single performance takes. Using the Jaguar with it's bloody high action, the original threaded bridge and my trusty and road worn AC 30 and Deluxe amps in stereo, the platform for sound is up to my hands, heart, imagination and other. Most guitarists like to make things easier with their equipment. My approach is often to make it harder, use heavier strings, record in non-studio environments, open up the unexpected. It forces me to dig in deeper for the notes and not to overplay.
Most pieces begin with a few plucks of the strings behind the capo. This is how I "tune" the capo, adjusting the tension is vital for the type of sound, resonance, timbre, tone, pitch and feel, all of which I can control and alter before and during a performance. After a few small turns and a couple tries to get it just so, then I can begin. Right away this puts me in what feels like an "other state."
Using two different tunings I've developed over the last few years the moods and atmospheres are limitless. Teamed with an entire fret board of capo placement options I feel like a child learning about the galaxies. The music that comes from my experimenting recording sessions has a different kind of exuberance, a DIY lo-fi rawness that shakes things up. Some may feel uncomfortable at some moments, but without that tension there can't be beauty. It is all about contrast and balance. Charles Austin (engineer) said it sounds as if "Two brothers are playing mbiras - thumb pianos, who are dueling back and forth. They love each other to the core but there is conflict, resolution and potential joy."
