Track-By-Track zum aktuellen Album der Psych, Folk und Soul synthetisierenden Amerikaner…
Schon vor einer ganzen Weile erschien das neue Album der CRYSTAL STILTS. Hier reichen wir nun endlich die exklusiven Kommentare nach, die Gitarrist JB TOWNSEND zu den Songs von Nature Noir für uns verfasst hat…
SPIRIT IN FRONT OF ME
This one was a clear opener from the get go. Kind of a simple, spaced out gospel psych song, born out of us all in practice.
That one is a bit newer than some of the others. I wrote the guitar at a pretty sad moment for me and I guess the feel of the song is kind of a defeated, slow, stoned- late night pop song. The prime engineer on the record, Al, played the flute on the solo.
I wanted there to be a sort of ripping, burner on the record and I was listening to a few things that were like that. In fact the guitar demo i made of this song was jokingly called R.I.P. Badass. The way it came out, with a more Velvets meets Creedence meets early Love thing was actually NOT deliberate so it’s interesting that the final outcome was like that- much different than the income.
STICKS AND STONES
Another one that came out of a late night winter buzz. I envisioned this song originally being a tad slower and groovier- in a Them, Brian Jones era Stones sort of way but we tried some different rhythms and this more catchy, almost Dylan-esque rhythm ended up winning. There’s an electric autoharp through a tape delay echo on there as well.
This one was a hair more difficult in the writing stage. I worked on trying to get the right tempo/rhythm right for it for months. There were different choruses that got scrapped etc. I really like taking attributes from different sources- songs that I like- and applying them to a song that wouldn’t obviously call for that specific thing. Like the 12-string acoustic on this song wasn’t really planned until we were recording.
WORLDS GONE WEIRD
This one came out of practices- it was originally much slower and almost too Velvetsy so we sped it up and shuffled it around and stuff. I actually really like this song- I feel like aesthetically it could have been on our last record, which is cool.
DARKEN THE DOOR
I feel like I’m revealing too many secrets. The chorus was kind of trying to emulate chordal structures on an autoharp.
I don’t think this one is really aspiring to any influences. I like that there’s no minor chords on the song but it still has a darkness in an almost country way.
Older song that we worked on a lot. Its not really ripping on too many influences I’d say off the top of my head.
Possibly my favorite song on the record. There’s a lot of influences pulling in on it; Jack Nitzsche anyone? I feel like we could make a whole record of songs like this. There’s too many I like to settle on just one style.
(Sacred Bones / Cargo Records)
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