I recorded the guitar in double time to which we slowed the tape down for the final track. The drums were also recorded at a different speed and then slowed down and run through the eventide rack delay that was used pretty extensively throughout the album. The cello was recorded throughout the song and mixed in and out by Maryam as she felt for the song. The tape loops that come in for the chorus were made on a Steinway with ping pong balls run through the eventide, and the loop was made on a separate cut piece of tape running off a guitar stand, that was manipulated throughout the final mix recording.
I still think about the original and first recorded version of this song with the tape loop. The first mix i heard sounded similar to what is the final song. But without much control of the loop and timing of the chorus, the first recording was very different. We only had three recording attempts and I decided I could not live without the way the piano loop comes in as it is now. I still wonder though, how the first recording would of worked. It was much more "off" timed. I still wonder. But I love this song so. That is why it's the title track.
Recorded on the Grecian isle of Hydra, this is blissed-out psych pop with stacked falsetto harmonies and luscious arrangements. Bandcamp New & Notable Apr 9, 2023
Two dozen 12-string acoustic improvisations that feel undeniably haunting, like lost transmissions from ancient Appalachia, rediscovered. Bandcamp New & Notable Oct 17, 2022