A new approach focusing on real things that happen to real people.

PONDER ON

The only track to be recorded as far back as 2020, the album opener finally set the wheels in motion for an improvisation-based project. While the basic concept evolved gradually over a long period of time, ‘Ponder On’ is the earliest embodiment; two clean rhythm tracks, one lead track and no other instruments. Lots of feeling and careful selection of the guitar sounds was all that was needed to complete the puzzle. The title is largely self-explanatory and the atmosphere provided by the music can be used appropriately. This recording is a great example of my Ibanez PGM80P on its best ballad behaviour. I never got close to recreating that sound again, which is probably how it should be; engineers spend most of their time chasing after the best result and sometimes that includes catching lightning in a bottle, metaphorically speaking. While the track is short, the complexity of the rhythm parts ensure there is plenty going on throughout. Once I had laid the solo on top, I used it as the example of how to play guitar with more honesty and expression than ever before.

BETTER TIMES AHEAD

It’s time to introduce another guitar that made a big impression on the album, the G&L ASAT Classic; essentially a redesign of the Fender Telecaster from the minds of George Fullerton and Leo Fender themselves. Why does this matter to the story of ‘Notions of Verity?’ Of the three guitars used on the album it covered the most milage by far. ‘Better Times Ahead’ was completed more than a year after the opener and demonstrates the increase in scope and ambition from a guitar-only project to the inclusion of bass and drums. Most importantly, the improvisational core of the album would remain throughout. This time around I wanted the music to convey the emotional shift between deflation, hope and anxious excitement for better times when things just won't work out. As a species, humans have never stopped looking for improvement. Every time we find our happiness again, we can make it better still, and that is always worth waiting for.

LUCKY ESCAPES

Every time I have been in a dramatic situation where I could have been injured; sheer good fortune has always taken care of me. At the time of writing, I still haven't broken a bone at 35! After a particularly close one many years ago, I arrived home and told my sister ‘I’ll never say I am unlucky again.’ Those, as you can imagine were not my exact words. None of this is to say I am some sort of feral thrill-seeker; I am actually surprisingly cautious by nature. Who knows if luck actually exists or not, I’m not a believer in fate either but I do tend to be in the right place at the right time when it really matters. Of course, this is as much down to the people looking out for me as yours truly, and I’ll always be grateful for them. Because of the subject matter this was another track that needed to translate emotional conflict into music, but after a couple of ballads, it was time to turn up the overdrive, turn on the wah and celebrate... For the most part.

SQUARE PEG

There’s plenty more overdrive to go round as my TV Yellow Gibson Les Paul Special takes to the floor. The smoother, more contained sound of the previous track is replaced with a bright, aggressive grittiness. Unapologetic from the start, this one is straight to the point and... Very rock! I was initially tempted to put an entirely positive spin on being a square peg in a round hole, but that would have been one-dimensional and perhaps even lazy. Some degree of nuance was required to represent the positives and negatives in less than four minutes of music. I rarely feel engaged by ‘the popular thing,’ whether that be the biggest movies, music, sports, video games etc. In reality I am probably looking for more creativity; mass appeal tends to have a bigger element of safety and predictability. There’s nothing wrong with that of course, and history shows it works time and time again. But when I start to notice the patterns too often and see the cogs going round, I’m usually off to find something more willing to take a risk for the sake of entertainment. Risks, in my opinion, are what moves the world forward in the long run. I often enjoy my individuality and the different life that goes with it, but it does create a few social challenges. The truth is, there is room for everyone. To put it simply, you like what you like. Whether it is topping a chart somewhere or championed by a minority, more power to you!

MOOD SWING

While the unusual lo-fi drum breaks are sent to surprise you, this one still maintains a rock energy that fits nicely with the narrative. The rhythm guitar tuning moves between standard in sections one and two and Drop D in sections three and four (because the lead parts are weighted towards improvisation, I can’t really refer to the different sections as verses and choruses). This provides more variation, but in a functional way rather than creating a distraction. Drop tuning also means the bass can deliver a heightened sense of power and atmosphere, which is something I enjoy when the time comes. The hi-fi drums also have a lot to say here, with some very purposeful fills, but they also manage to maintain the groove in sections three and four despite their obvious enthusiasm.

A LIFE TO LOVE

After all the excitement of the three tracks prior, it's time to relax and roll the gain down again. The Ibanez PGM returns for a quick ballad and excels itself once more. While it is generally perceived as a rock shred machine, it's never the best idea to judge a guitar by its stereotypes. Another example of this is the Les Paul; originally designed for clean sounds such as jazz, for decades it has often been pigeonholed as a classic rock guitar. It is hardly surprising that it succeeds at both... And more besides. Back on topic, this tune is all about gratitude for life and what we have. While many of us pine for a different life or career, more material things, increasingly faster internet etc... Sometimes we all need to drag ourselves away from our screens, go outside and take it all in, whether it’s mundane or beautiful. Afterall, those screens display the ads for the things we likely never needed in the first place. I am very much an indoor type, but even I need to be in an environment designed for humans every now and again. It’s not just about being in nature though, we could simply sit quietly and let our thoughts wonder, or go and talk to different people who offer a different perspective. Whatever does it for you, appreciation for life takes many forms. When it comes down to it, love the life you’ve been given, it is uniquely yours.

NEVER FAR

After a quick breather, the bass and drums return for another ballad. This was actually the last track to be recorded, which always stirs a few different feelings; accomplishment, relief and insecurity to name a few. There’s also the classic ‘so near yet so far’ element which keeps me in line! Most importantly I wanted to send the album off as strongly as it started. You may have heard of the theory that social media brings us together but also pulls us apart. There is probably some truth to this, and while blaming social media for nearly everything has turned into an internet sport (sometimes rightly so), there has to be more to it than that. I think the social shift is just as much to do with the fact that most of our entertainment has been provided at home for so long. The well documented, tragic goings on in 2020 and beyond also conditioned us to the isolated life out of necessity, but at least we could video chat if we needed to talk to someone, with varying degrees of success. At least this provided some unintentional comedy on occasion! While I’m sure many people kept up a healthy schedule of communication, I would gradually slip away from it and I am sure I’m not alone. I’ve never been much of a conversation starter, so with a couple of exceptions I didn’t feel like I should bother anyone outside of the house. The irony of this social disconnection is that there is actually someone on the other end, possibly feeling just as reluctant to get things going. This, finally is where the title comes in. In modern times, no one is really that far away, and if you need to have a serious talk or start some much-needed banter, perhaps it’s time to start the ball rolling. I know this is something I need to work on going forward, and who knows? We might be pleasantly surprised.

SUBTLE AS A BRICK

At some point I’m sure we’ve all been in situations or met people that fit the description of this title. The phrase has been following me around for some years and I thought it was about time I did something about it. The Les Paul is back, this time acting as my satirical partner. This is a fun one, appropriately lacking any sense of subtlety as it crashes enthusiastically from section to section. I also just wanted a straight-talking rock track; I certainly find great value in a simple structure or hitting some well-intentioned power chords. You can do anything with rock, which is probably why I’m drawn to it so often, but there are times when the basic stuff just can’t be beaten. Afterall there are plenty of opportunities on the album for the deeper tunes to thrive too. After waiting patiently for some time, the wah makes a surprise cameo appearance near the end, adding some unique character in the process.

COMPARISON THE THIEF

Some say ‘comparison is the thief of joy.’ We can’t really help comparing ourselves to others; perhaps it was an evolutionary advantage once upon a time, back when it truly meant something. That being said it is probably best not to learn your history lessons from me. As you would expect things have moved on beyond recognition since those heady Neanderthal days... For the most part! There is a possibility the old ways will become increasingly irrelevant as we are often encouraged to embrace our individual ambitions and those of our closest circle. While we can’t resist some of the leftover's evolution forgot to tidy up and stop the comparisons entirely, maybe we can loosen their hold on us over time. Now fully rested and raring to go the G&L is in slightly stern voice this time, but only after the drums and bass have set the scene. The three guitars come and go throughout the album but one instrument hasn’t gone anywhere in thirteen years; The Squier Vintage Modified Jazz Bass. It even takes a well-deserved solo, hopefully when you least expect it. It may be hard to believe this is the same guitar and bass combination used in ‘Better Times Ahead,’ but it just goes to show the flexibility these instruments offer.

DEVIL-MAY-CARE

It’s time for two guitars to share the limelight as things get moving right away for the penultimate track. This made for a unique mixing day with the Les Paul taking the lead and the hard-working G&L on rhythm duties; quite a contrast! All about energy, fun and drama as the title suggests, there is quite an atmosphere throughout. The drums do an excellent job of getting all those feelings across; ‘The Loop Loft’ outdid themselves here. This is probably my favourite sounding of all the mixes on the album; everything meshes together to create a bigger, thicker sound while simultaneously allowing everything to cut through... Another lightning in a bottle moment? While I’m on the subject, now is a good time to pay tribute to the ‘Overloud TH-U'; a virtual guitar processor that plays a huge part in that synergy. ‘Notions of Verity’ is the second album to use it, and I tried my hardest to take everything I’d learned from before and refine it this time round. Who knows where it might take me in the future?

LET’S TRY THAT AGAIN

It’s fitting that the G&L should bring this 45-minute journey to its conclusion, and it navigates the tonal extremes with characteristic ease. The lead sounds are perhaps the most traditional, and sit neatly in classic Fender territory. This is not something I often aim for, but it was the perfect fit on this occasion. ‘Let’s Try That Again’ was actually recorded quite early on and the title gives a hint of the challenge I was facing; while I have improvised plenty of solos and quite a few verses in the past, I had never made it the main focus of a project. I actually found it harder than making the fully composed, chorus-based albums and I had to be blunt with myself during the process of figuring out what worked and what didn’t. Because of this the album took a long time to gather momentum, as the also rans made way for the winners. Somehow, this album has overtaken ‘Loaded Question’ and ‘Picture of Intrigue’ as the hardest I’ve ever made. Despite the struggles I never listen back to these three albums with any negativity, quite the contrary in fact; it just makes me more appreciative of them.