Published on Jul 12, 2012
I have owned 8 strings for a while now, but I have found it hard to write with them for 2 reasons. One, it's pretty hard to escape the Nothing era Meshuggah sound, because that is what that range is offering you, and those notes are so low that you can't move around too much, or it all gets lost. Two, I just couldn't figure out a tuning that was inspiring and that would also work well given that anything below an F# is really pushing what you can hear on the bass if you want to maintain the octave relationship of the guitar and bass. Funny enough, it was tuning my 8 string to standard that opened up a world for me given that most of the time I'm in dropped tuning. The first few riffs of this song just came out of nowhere while i was watching TV and jamming, and the chorus was a rather strange progression but it worked in an Extolish kind of way. Thinking back, I remember thinking that Spencer was going to have to do something interesting over that chorus because it just didn't sound like it was going to end up being very melodic, at least not in a traditional sense. In actuality, he ended up writing one of my favorite choruses of the album over that section, and it ended up being surprisingly catchy. Following that section, I wanted to try something a bit different, I wanted something where the bass would be carrying the rhythm and melody, and the 3 guitars could focus on pretty clean layers and outlining chords that fit the mood I wanted, and ended up with a rather interesting progression. After demoing the song, I told Mark I wanted that section to repeat, but with a rhythm line that kinda just went off, almost like a "rhythm solo", and boy did he go to town on that! That whole middle section only got better with Spencer's vocal ideas, and I think that is personally one of my favorite moments on the new album, and it covers some ground that Periphery hadn't previously explored. I also think that writing this song opened up a lot of ideas on how an 8 string can be effectively used in a way that a downtuned 6 or 7 string cannot, and I am extremely happy with how this song came out. On a lot of days, it is my personal favorite from this album. - Misha
I'm probably prouder of the middle section of this song than any
other moment on the album. After the clean Final Fantasy-sounding section, Misha had the idea to have this "riffing
solo" follow - a non-repeating riff that sort of just flows into the next section. It's a thing that Dream Theater used to
do a ton of back in the day. I took the song home and wrote that middle section, and brought it back to Misha's studio to
track it. We ended up re-working it quite a bit, particularly the latter, busier half of it, but the main vibe stayed
the same and it turned out to be pretty epic. I remember both of us being frustrated because we had so much trouble
making that part fit in the song properly - we loved the section that we wrote but it just didn't "vibe" well in the
context of the rest of the song. But when we finally did arrange it in a natural way, it made the song feel much more
"complete" and gave it a ton of much-needed tension towards the middle. Usually when trying so hard to force a song arrangement it
ends up being fruitless, but this time it actually resulted in a much better version of the song. - Mark
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