wings

"When you look at a precious stone you're trying to figure out what it is about this thing that is so enticing. In each of these songs there's something that is enticing … for me it's the rhythm, for other people it's the textures. The textures keep changing. The tracks take you on a journey. [...] there's a lot of software I can use to create strange noises, taking normal instruments and twisting them into something else. But on this album a lot comes from the rhythm because most of the record was written not on a piano or guitar but on a rhythm machine. I love the way hip-hop drives the funk by making the backbeat really lazy. On most digital drum machines there's a button that says "swing" on it and that gives you the amount of lateness or laziness on the backbeat. A lot of the drummers I used tried to straighten out the beat but my real intention was to never straighten it out, to have it stagger along.



Here comes the Flood

A lot of records use technology to make use of all sorts of noises – traffic, everything – but the viola can do that anyway without really telling you what it is. It's like a tapestry behind the song. [...] The viola has always had that capability to personify the location that you're in. Most of the drones I use are really open tunining and in open tuning there are all sorts of possibilities you don't get by fingering the chords you're playing. On open strings there are all sorts of anomalies that come with it, you hear harmonics of a different kind, all sorts of open sounds. Those drones on there are all open strings. [...] I like playing things backwards a lot. Whatever it is you put in you don't know what you're getting back."

John Cale: 'I don't want to end up in Pseud's Corner' in The Guardian 26 September

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