Ever wondered what our full length concept record, intended to be heard as one, gapless song sounds like with commercials in between every 3 or 4 tracks? Now you can! Why? Because we’re officially up on Spotify!
No we know you’re wondering, “CMC, that’s all well and good, but what if I want to buy said album without having to enter my credit card information on more than one music playing application?”. We’ve got you covered, because we’re also available in iTunes! BOOSH!
Get your one-click purchase and stream on this weekend, we appreciate the donation of your ears.
One of the oldest songs on the record, it and its counterpart were originally conceived as one large composition. There was lots of Coheed & Cambria floating through our collective headphones at the time, so writing something that broke the nine minute mark was a near necessity. However, since the song was always broken into two sections, when it came time to press the record divvying them up came through as the best idea, not only to further implicate their differences, but to let each part stand on its own two legs.
Easily the most reserved we ever were as a unit, writing the verses was an exercise in restraint, but not a decision we made knowingly. We just knew we wanted it to start softly and grow into a big-chorded chorus, a coming of age for us (this was the first time that we used chords that spanned more than two strings). Elements such as the bass line that carries the first half arose out of letting a lack of assuredness take over, and for as composed as it is on the whole, it’s the most felt song we’ve put together. All of it coming out of slowly letting it develop on its own.
We tracked this song several times over our run, both with Terry Geer and all within the same walls (Terry even wrote a memorandum about this occurrence HERE). Pretty much all of the audible flourishes are the result of his meddling in the studio, and were early signs as to how much he cared about the production of these songs. The blues harmonica solo that has become the track’s staple was spurned out of his mouth-harping for kicks while we listened back to some takes, which we then insisted be kept. I remember coming back to track some additional parts one night and he had placed in the harmonies over the second bridge without prompting, acting on instinct. I believe I said something to the effect of “We’re not Relient K, Terry”, I also believe that I was wrong.
As an inter-band introduction to the slow burn and an easing into the dead center of the record, WUIB remains a personal testament to the maturity we held, a fitting turning point within ourselves and the album.
Today marks the first birthday of our debut record, ‘The Sun, The Moon, The Dark, The Dawn’. To celebrate, we’re giving away digital copies, so copy and paste one of the codes below at http://callmeconstant.bandcamp.com/yum to nab one. When they’re gone, they’re gone. Enjoy!
During those band practice warm-ups, once all done with scales, exercises, tuning and pedal adjusting, we’d often open up our time together with a groove or riff based improvisation. Most of it was terrible, but every once in awhile a song would come out of it, which is how we happened upon what would become The Moon.
The idea was simple enough, two sections pieced together, a build up and a build down. It wound up being an exercise in restraint when it came to finalizing the arrangement, as there was a massive section that bled into it (Contradictory Anatomy), and a following track that opened up in its back half (When Used is Boastful). The trick was hinting at the overall feeling to come without losing the energy of the record’s first section, The Sun.
What I always loved about the piece was the different forms it would take depending on what setting the song would be played in. The studio found it at its most composed and controlled as it was harnessed into serving as a segue into the calm that is the middle of our record. However, the use of our friend Matt Hunsaker’s vibraphone elevated the melody and the implementation of field recordings created an ambient mood we weren’t able to achieve anywhere else. Other settings, like the aforementioned band practices, found the composition turning into a full blown, bombastic build, with too much finger tapping and delay. We laid tape on one such practice, and you can listen to the nine and a half minute version of it HERE.
Contradictory Anatomy, like all of our songs, was written in pieces and parts. The intro sections were concocted in a hotel room in Vermont while on a family vacation years ago, the rest was primarily written during my shifts at the dry cleaning job I held from high school through college. During the down hours there I’d be hanging out in the back air drumming, walking in circles and muttering possible melody ideas to myself and recording them into my phone.
Ska had a huge influence on me when I was learning to play the guitar, Five Iron Frenzy, specifically. I used to learn their songs by ear, which attributed a lot to the way I started to put parts together in my head and taught me about the use of instrumentation. Of course, throughout all this was that reggae-style upstroke guitar that would undoubtedly leave it’s mark. The verses in this song were a blend of those factions of Five Iron Frenzy as I understand them: Staccato rhythms accompanied by a lead that ping-ponged its way throughout the melody.
The chorus has my favorite chord progression that I’ve ever put together. Whilst heavily inspired by Mogwai, I had written every part out knowing it would fit together, but with no way to actually record and play along with it, didn’t know how it would sound as a whole. I wore the biggest, most idiotic grin ever when we played it as a band for the first time. It’s not overtly complex by any means, but the way all three guitar parts blend and groove is, to me, one of the finest moments we had as a melodic unit.
This was the first song where we really played around with harmonies and call and response vocal parts. Terry Geer made a masterful call in the recording process to turn the “drown my arrogance inside” at 4:30 into a three part harmony. He belted the britches off of that note, too.
Another major influence on this song, especially its back half, was post-rock. I had just acquired Godspeed You! Black Emperor's record Slow Riot for New Zerø Kanada, and would listen to the song BBF3 over and over, fascinated by how it built up and just exploded in its multiple crescendoes. That’s the primary influence for the two chord jam at the end of the track, and Matt’s bass line (he’s also a big GY!BE fan) perfectly accentuates and provides the melody at the same time.
Say hello to the cover. Artwork by Valerie Mayen. The Sun, The Moon, The Dark, The Dawn. September 8th.
Come hang out with us at QUEST FEST 4! Four years in a row we’ve played this show, and it’s always a pleasure to see friends and hear how their bands have developed in the past 12 months.
poster design by Stephen Mlinarcik.