We’ve updated our Terms of Use to reflect our new entity name and address. You can review the changes here.
We’ve updated our Terms of Use. You can review the changes here.
/

about

This is one those songs that practically wrote itself. Oddly enough, there’s no chorus; parts just seamlessly transition in and out. The beginning verses came purely from the beauty of the Major 7th chord. Simply playing two maj7 chords over and over again was enough to create something ethereal and interesting. After a short motif, the song does a massive 180 into a distorted palm-muted riff, reminiscent of 90’s screamo.

The song does a swift turnaround yet again, but this time it gets interesting. The dreamy transition is accomplished by turning on a massive reverb (Marshall Reflector – a great dark sounding verb) on the last note of the screamo riff. This lets the distortion seamlessly devolve into the clean tone. It’s all one track, one take.

Then, both a phaser (Boss PH-3) and a delay (Boss DD-6) are switched on in order to give the ambience a sense of movement (these days I switch on all 3 pedals at once using a true-bypass looper, making the transition much smoother). It’s just one guitar, randomly caressing the high open strings, with an almost spontaneous note picked behind the bridge on my Fender Jaguar (at 2:36 if you listen closely). The right guitar fades in, repeating the motif from the beginning verses of the song. The spacey guitar continues by letting the high E drone while single notes are plucked high up on the B string. The guitar effects do all the work here, turning simple quarter notes into droning ethereal phrases.

As the song crescendos, the spacey guitar kills the effects and switches to basic overdriven barre chords. The second guitar fills in with sustaining octave chords until the song swiftly drops. The left guitar adds a reverse delay (Line-6 Echo Park) and the two guitars play individual melodies which intertwine into one cohesive soundscape. The trails of the reverse delay are left to echo as the song fades out.

credits

from Fuck Yeah Effects Pedals Compilation Vol. 1, track released November 11, 2011
verbosa.bandcamp.com

license

all rights reserved

tags

about

Fuck Yeah Effects Pedals image

Fuck Yeah Effects Pedals Michigan

Fuck Yeah Effects Pedals is a blog I started to help people out with pedal inquiries and spread the love of pedals throughout the internet. Hopefully my compilations will spread some good music through a wider audience than some of the bands I feature already have. ... more

contact / help

Contact Fuck Yeah Effects Pedals

Streaming and
Download help

Report this track or account

If you like Conscience vs The Body, you may also like:

Bandcamp Daily  your guide to the world of Bandcamp

On Bandcamp Radio

Beans joins the show to discuss his album release, "ZWAARD".

listen now