“我只会把每个表盘都变成完整，听起来很棒”
The Newcastle riff kings on the return of their original drummer, embracing doom, and the power of a well-mic’d valve amp helped them channel riff gold on their latest LP.
图片：Ania Shrimpton
There’s a certain amount of self-belief involved in calling a song终极锤. A song called终极锤must rock and it must rock hard—there are no degrees of ultimate, there is only ultimate.猪猪猪猪猪猪猪’终极锤岩石和岩石很难 - 听起来像Black SabbatheatingZZ顶部beard-first, riding a syrupy groove that would be eminently danceable if it wasn’t trying to crush you.
随着揭幕战的发展，这是纽卡斯尔的即兴演奏领主试图实现新唱片的完美摊位。卧铺之地，这是一个八首歌的庞然大物，将声音进一步推向了Doomy Recesses，从歌手Matt Baty脱颖而出，并吹出了愤怒的愤怒。吉他手亚当·伊恩·赛克斯（Adam Ian Sykes）和萨姆·格兰特（Sam Grant）在41分钟内所做的一切听起来都很大，这反映了过去的赌注时的关注。
It is邪恶的死2toViscerals’最初的施洛克·福斯特（Schlock-Fest）充斥着奇闻趣事的暴力时刻，但幽默感和真正的迷幻怪异。
A key ingredient in its construction that sets it apart from its 2020 predecessor is the return of drummer Ewan Mackenzie, a sonic extremist who’s back in the saddle for the first time in six years.
赛克斯说：“他的内心充满了沉重的音乐，真正的音乐。”“这有点让我们有点努力重新审视我们的一些旧东西，无论是潜意识，还是不是潜意识，在与他一起演奏并再次学习歌曲，或者教他新歌及其对这些歌曲的变化。我们知道我们希望从生产方面起来更重，但我认为Ewan的影响力是其中的重要组成部分。”
原始污泥
Connoisseurs of this sort of primordial sludge will note a couple of things about the way Sykes and Grant have taken this flash of inspiration and used their ultimate hammer to fashion something harsh and sometimes ugly while keeping alive a genuine sense of warmth. The riffs here aren’t spiky or scything, they’re rich and full-bodied, utilising fuzz tones that feel like drowning in a shag pile carpet.
“Sound at source is key,” Grant says. “Both Adam and I are using old-style valve amps, myOrangeCR120, aVoxAC30。我们甚至将MIC的基础元素在和谐上都很丰富。我真的很喜欢用丝带麦克风加工，这些丝带麦克风会赋予这种温暖的载荷，然后我将使用冷凝器或动态麦克风引入一些咬合，一些刺耳的感觉或一些空气。”
他补充说：“这证明了源的声音如何真正改变生产，它在沿线的氛围方面做了所有艰苦的工作。”“我们也做了很多事情。我会拿起吉他的一部分，所以我表演了。在节奏吉他上，我将通过AC30进行双重轨道。通常，我不会使用踏板，我只会将每个表盘变成完整，听起来很棒。”
同时，赛克斯（Sykes）喜欢在每张专辑中切换他的主要污垢踏板，追逐一些略有不同的东西，而不会与发出浓郁，糖蜜式厚度的音调过得太远。在这里，他在B.G Harding S：P旁边使用了TS-808克隆，用于鼻音医学先生，敲打头短而尖锐的运动。他说：“我经历了很多绒毛踏板，总是回到那些圆形低中部的踏板。”“就是那个体重。”
平行线
That weight is absolutely vital to the Pigs x7 sound. Alongside Mackenzie, bassist John-Michael Hedley has a field day on卧铺之地, grinding through pummelling lines in lockstep with the rhythm guitars. It is relentless. “There’s a thing I’ve been playing around with, which is parallel basses,” Grant says. “It’s tracking the bass twice and having it hard panned left and right.
“If you manage it right and mix it right, it clears the centre space for the drums. Both my guitars are double tracked and panned left and right, and the bass is double tracked left and right. You get these two columns of sound, and because they’re not ever going to be quite with each other, it creates this width right up the range with a master. Adam was working a lot with Matt about the voice in the centre of the image, the thing that has freedom and movement.
“这是我们在先前的记录上制作中所做的事情，但从来没有在此范围内进行。我也真的很着迷于将钢琴整个专辑放在专辑中，尤其是底线镜像即兴演奏。这意味着有很多空间可以添加类似的元素或合成器的片刻。这可能是我们制作的任何专辑中最大的深度。”
The guitar situation itself, though, is a little more pared back. Grant used to depend on aFenderToronado但是，由于模型不再制造，他在将自己的短尺寸的飞行中变得偏执。他最终在TelecasterDeluxe fitted with Shawbuckers.
“我真的很解决。我真的很喜欢挡泥板的脖子，我不喜欢吉布森necks at all,” he says. “But it’s got a sound that’s very similar to aLes Paul与那些拾音器。这只是更通风。比Les Paul的头发更细节，但与笨蛋的厚度仍然很好。我几乎只使用它。”
赛克斯（Sykes）生活在挡泥板/吉布森（Gibson）的另一侧，大部分时间都划分了，但不太狂热。他说：“在大多数情况下，我使用了我的61重新发行SG，这是我在锁定上购买的。”“我曾经有一个特别的东西，最终我在演出中闯入。我真的很想念它。SG对我来说是一种完美的脖子，这是我最感兴趣的东西。当我们对节奏的东西进行双重或三次跟踪时，我们使用了这一点，而我在大多数领先的东西上都使用了美国特殊爵士乐演奏。这也是一个相当新的收购。我很喜欢。我永远无法与爵士主人逃脱。我不知道该模型是什么，但是当涉及到领先的东西时，它确实确实如此，P-90确实很好。”
Riff ratio
Baty’s gut-wrenching vocals pose another question for the band’s guitarists. As well as providing the fuzz, the duo carry much of the melodic responsibility. Interestingly, this is another consideration that falls under their team ethic – each song represents a five-way appreciation for how to best fill an allotted area. Sykes observes that Pigs x7’s music is “90 per cent riff”, with relatively few licks or hooky leads, so it’s about assembling progressions that carry a melodic movement in their makeup, eventually binding that to the swing behind Mackenzie’s contributions. “With Ewan it feels like writing with another guitarist. He is so melodic in his playing,” Sykes says.
格兰特补充说：“我们肯定会因音乐的有节奏元素而死。”“我们正在玩的即兴演奏非常简单。音乐始终是其各个部分的总和 - 并不是真正需要任何一种才华，也没有任何精明性的才华。鼓可以填补空白，或者即兴演奏将填补鼓之间的空白。它变得非常整体。
“The key is always that we’re writing something that makes you want to nod your head, and then trying to find the nuance within the rhythm so it can suddenly switch.Terror’s Pillow这样做吗？有几次我们演奏它的地方，人群开始点头，然后突然在七个开始时，它可以追溯到开始。我们对此感到有些内gui，因为我们有点夺走了那个神奇的时刻。但是，一旦您围绕着它，它就会变得真正令人满意的事情。”
Drone strike
期间气象员，一个接近七分钟的切口，位于卧铺之地like a gravity-obliterating black hole, Pigs x7 put this theory to the test. It isn’t the longest or most punishing drone exercise out there but the song – featuring Bonnacons of Doom vocalist Kate Smith and, among its choir, the prolific experimental duo Richard Dawson and Sally Pilikington – is patient, immersive and dynamic.
它弄清了乐队声音中熟悉的元素，并相信听众跟随他们的领导，从民间恐怖的氛围转变为一角钱上的颅骨裂缝。当格兰特（Grant）和赛克斯（Sykes）坐在录音室控制室中，决心放慢巴迪（Baty）的原始演示时，发现了解锁其挤压重量的关键。格兰特说：“有这个顿悟。”
他补充说：“我们都有演奏这种音乐风格的历史。”“我们参加的乐队之一 - 我和亚当在不同的时间 - 用于编写40分钟的曲目，您只需循环循环，循环和循环。它将仅通过重复就开始发展。突然，一旦您改变它，它就会欣喜。”
People love Pigs x7 because they chase this feeling in each aspect of their music. They go at their creative decisions by bending every sinew, as though they have resolved to win or, if that doesn’t happen, fail with everything they have. When it comes to writing riffs, this attitude is everything. “It’s just this idea of cranking it and cranking it and seeing how long you can take something before it just has to rattle off its hinges,” Grant says.
猪猪猪猪猪猪猪’卧铺之地2月17日在火箭录音.
