Zaba Glass Animals Here We Go Again Demi
Drinking glass Animals are currently hosting an interactive stream of Zaba on their website - head here to mind to it. Hither, frontman Dave Bayley talks usa through the anthology, which gets released next week, on June 9, via Wolf Tone
We gear up out to make a record that you tin can listen to from showtime to finish. Something that takes y'all to a identify abroad from reality and holds you there for its entirety. Each song is meant to fill up a space that the others don't in terms of the music, lyrics and the sonics. Nosotros didn't want to echo ideas, or repeat whatsoever one emotion. Nosotros didn't want to write a whole record of dearest songs for case. It's meant to fit together a bit like a puzzle, where hopefully the whole is greater than the sum of its parts, and each song is a little earth within an overarching larger movie, taking y'all through to different places, meeting different characters and creatures.
'Flip'
Become your big speakers out for this ane. Or some big headphones. I retrieve the idea for this trounce was sparked by an old FlyLo runway. I don't fifty-fifty remember what it's called now, merely it was a bass-heavy monster. The start one-half of the rails is quite mellow but is meant to build tension, and then it all changes upwardly nearly halfway through. We idea that could be a absurd manner to start the record. Give people a bit of a false sense of calm. The sound at the very beginning, the get-go thing yous hear, was me trying to make a noise that sounds similar someone opening your caput with a can opener.
'Blackness Mambo'
I wrote the basic sketch and lyrics for the song while watching Breaking Bad… I don't know what it was in the episode that sparked the idea just I had to interruption it, and two hours afterwards I had most of this track. It was quite abrasive really… I really wanted to finish the episode. So… it was originally called 'Crystal Meth'. But then someone showed me the Louis Theroux documentary on crystal meth and… well… that'southward some awful shit! And then we inverse the name later on that. It's an older track from the middle of last year, merely nosotros had more ideas for it. Afterward re-recording information technology, nosotros idea information technology fit nicely onto the album, even though we really wanted to include simply new material.
'Pools'
We went on a fiddling holiday to Cornwall in-between some shows nosotros were doing. All the ideas popped into my head when we walked by some rock pools on the beach. We had a lot of fun creating the soundscape for this one. A lot of the percussion was done on pans and by striking anything that sounded good around the studio. At that place are a few photos of Joe [Seaward, drummer] lying on his back with us holding pots total of water over his caput equally he hit them. He got a bit wet. Oh and also… Paul [Epworth, producer and Wolf Tone characterization boss], whose studio information technology was, had only had a baby and her toys were lying effectually. In that location were these massive tuned tubes chosen Boomwhackers that all fit together into some sort of xylophone…we used those to make the main percussive synth-y riff.
'Gooey'
'Gooey' started off equally a beat I'd made for a hip hop artist. I was simply going through some beats I had made for someone, choosing which to send off, and I got to this one and listened to it a couple times. At that point information technology was merely the bass line, drums, percussion, and little glock riff. All of a sudden those chords popped into my head and I got the pianoforte out and started tinkering and so the, "Correct, my little Pooh Comport" vocal line popped into my head, and then the rest. I ended up making this eight-infinitesimal groove track. And so I showed it to the guys and we took it to the studio where we shaved off a few minutes. And then I recorded the song while property a pineapple called Sasha Violent. Paul also had this idea to record nigh eight tracks of me singing the final chorus in different accents and voices to get the audio of a tweaked choir. I think I imitated an old adult female, a drunk crack aficionado, a terrible impression of James Brown, etc.
'Walla Walla'
Another 1 you'll need some bass-heavy speakers or headphones for. This likewise started off as a shell for a hip hop artist. I think it was made while I was listening to a lot of Missy-era Timbaland productions, and some early Dr Dre R&B stuff. Simply Drew [MacFarlane, keyboardist/guitarist] and I were really getting into Can's early records, and I showed the beat to Joe and asked him to just freestyle over the acme of information technology on his drums, krautrock-style. Live we do this a chip faster and a flake dancier.
'Intruxx'
This was initially written to be the intro to the record. Information technology's meant to suck you out of reality and into some mad tropical world. We thought it worked equally well as a sort of psych suspension halfway through the tape that pulls you lot through even deeper into the wilderness. The words are incommunicable to empathize, but they're printed in the CD and vinyl versions of the album.
'Hazey'
This is the most recent track on the tape. We actually thought the record was all done, it was about to be signed off past the characterization, and so two days before our deadline I started this in my bedroom. The guys threw a couple ideas over and it was finished inside about 48 hours and nosotros decided to replace another track we'd done for the album with this one. I'm pretty sure I didn't get out my house for those ii days. Merely worked on this, slept and ate lots of cereal. We didn't have time to get into the studio to record this so information technology was all made in my room on ane old microphone, a computer and an old battered guitar I bought for £5 at a market place in Oxford. Our very first releases were made like that then it'south as well a nice nod to that way of working. As well… Xander my rabbit played some keys on this. He's form 8 synth.
'Toes'
The sound and temper in 'Toes' was meant to exist a sonic interpretation of The Island Of Dr. Moreau and Centre Of Darkness. About of the songs were written and in demo form before we went into the studio, but this wasn't. I had the pulsate vanquish and the bass line in my head, and nosotros started with that in the studio and it rolled into this.
'Wyrd'
This was actually quite a mellow, downwards-tempo track at one point, mainly piano and song. And so one day nosotros gave ourselves a challenge: come across how heavy and hard we could brand it. Within a few hours, nosotros'd gone from substantially a carol, to this twisted creature with dense percussion, wild synths and massive bass.
'Cocoa Hooves'
This is the oldest track on the record. It dates back about ii years now. Maybe a little more. It's been changed and re-worked from its original version, which was released on vinyl what seems like ages ago. We wanted at that place to be a softer vocal on the record, something elementary and sombre that gave you lot a moment to breathe. And this is it.
'JDNT'
When this was written I was pretty sure this was going to be the song to end the tape. Information technology's meant to bring the tape to a prissy, smooth resolve.
The interludes between some of the songs (5 interludes in total, I retrieve) were mainly recordings of a field virtually my house mixed with recordings of my pets chewing on my microphone, but put through synths and effects.
Source: https://thequietus.com/articles/15415-glass-animals-stream-album-zaba-track-by-track
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