Classic starts out in pure classic mode, with a high-class figure of dignity and grace. As everyone comes in, the beach party starts up, the bikinis bounce over skin, the Madagascar beach balls dangle, and mystery prevails in bass guitar plucks, and the bass pops into a swing of massive infectiousness around 2 and a half. A fierce and simple motif is thrown down, two notes, two chords, a back and a forth, and the guitar goes heavy metal hero over the top of it all as Mutrux proves his thing is legitimate, throwing out licks and hanging heavy in feedback over it all. The psychedelia starts again, as the bass pops feverishly behind the mystery meat of a room of wonders combined. Sleet displays a beat of unmatched complexity and commands it around the chunking Morris guitar background.
At quarter to seven it dissolves into the dark corners of West End house parties on LSD, and goes thoroughly haunted house shortly thereafter. At 8 things clear up into K-SHE classic pointillism, with Alex still floating like a poppy dream over the bass subsystem. At 9 a screech cuts through, and morphs between effects while Sleet layers in the syncopation beats. Right before ten it floats down to just outer space fantasies a while, nearly quits, and then comes lumbering back up the muddy riverbank smelling of muck and breathing a lulling swell and grind. Sunbeams fling rings, Sleet shuffles abstract clouds of drum symphony, and the guitar gets decisive and metal again, right about 12, goes into a sighing bridge of swing, then snaps back into metal while synth bells hit wack intervals without structure. The bass keeps bubbling, the guitar climbs in distorted chords until a galloping on and on.
At 14, the galloping breaks into long lean notes, then breaks into JS Bach scales, and the bass pops tiny high notes, and Thom rides along behind, watching and waiting. Dull bells start bonging and build up until 16, where they become something of importance until they fall back and the guitar rises up in place. A brash descent, then a tiny bell pattern starts, is answered by a metal progression, that changes wildly, and the drums shuffle up a trot and Alex gets a bit western a moment, then u-turns into a brief R&B wah wah pop.Things get a bit more serious over a restrained Sleet two-beat, and every time it dies, Alex has a better idea. Sleet resorts to cymbal taps, and the guitar barrels on like a sled through many feet of silken snow.
After 21 some trippy effects help maintain novelty, and a see-saw synth things sings under a noodling of high bass fingerings. The guitar gets back to the classics, then slings out a few chopped funk licks, the wah swells, Sleet knocks a wispy cymbal beat, and everything kind of retreats before a complicated synth arpeggio. The guitar sustains, a bass resounds, then a quick broadway ending punctuates the drawl.
lyrics
Classic starts out in pure classic mode, with a high-class figure of dignity and grace. As everyone comes in, the beach party starts up, the bikinis bounce over skin, the Madagascar beach balls dangle, and mystery prevails in bass guitar plucks, and the bass pops into a swing of massive infectiousness around 2 and a half. A fierce and simple motif is thrown down, two notes, two chords, a back and a forth, and the guitar goes heavy metal hero over the top of it all as Mutrux proves his thing is legitimate, throwing out licks and hanging heavy in feedback over it all. The psychedelia starts again, as the bass pops feverishly behind the mystery meat of a room of wonders combined. Sleet displays a beat of unmatched complexity and commands it around the chunking Morris guitar background.
At quarter to seven it dissolves into the dark corners of West End house parties on LSD, and goes thoroughly haunted house shortly thereafter. At 8 things clear up into K-SHE classic pointillism, with Alex still floating like a poppy dream over the bass subsystem. At 9 a screech cuts through, and morphs between effects while Sleet layers in the syncopation beats. Right before ten it floats down to just outer space fantasies a while, nearly quits, and then comes lumbering back up the muddy riverbank smelling of muck and breathing a lulling swell and grind. Sunbeams fling rings, Sleet shuffles abstract clouds of drum symphony, and the guitar gets decisive and metal again, right about 12, goes into a sighing bridge of swing, then snaps back into metal while synth bells hit wack intervals without structure. The bass keeps bubbling, the guitar climbs in distorted chords until a galloping on and on.
At 14, the galloping breaks into long lean notes, then breaks into JS Bach scales, and the bass pops tiny high notes, and Thom rides along behind, watching and waiting. Dull bells start bonging and build up until 16, where they become something of importance until they fall back and the guitar rises up in place. A brash descent, then a tiny bell pattern starts, is answered by a metal progression, that changes wildly, and the drums shuffle up a trot and Alex gets a bit western a moment, then u-turns into a brief R&B wah wah pop.Things get a bit more serious over a restrained Sleet two-beat, and every time it dies, Alex has a better idea. Sleet resorts to cymbal taps, and the guitar barrels on like a sled through many feet of silken snow.
After 21 some trippy effects help maintain novelty, and a see-saw synth things sings under a noodling of high bass fingerings. The guitar gets back to the classics, then slings out a few chopped funk licks, the wah swells, Sleet knocks a wispy cymbal beat, and everything kind of retreats before a complicated synth arpeggio. The guitar sustains, a bass resounds, then a quick broadway ending punctuates the drawl.
credits
from Apopophrenia,
released October 13, 2015
Drums - Thomas Sleet
Synth - Tony Patti
Bass - William Morris
Guitar - Alex Mutrux
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