By Phillip Crandall
It is time to celebration, the 1st music off of i am getting rainy, opens with a rapid-fire guitar line - not anything fancy, only a couple crunchy strength chords to acclimate the ears - repeated two times sooner than a booming bass drum joins in to supply a quarter-note countdown. A faint, swirling influence intensifies with each one bass kick and, by way of the 8th one, the ears have prepped themselves for the steel mayhem they're approximately to receive. while all of it drops, and the joyous onslaught of 100 guitars is ultimately discovered, you will have to forgive your ears for being duped right into a fake experience of defense, simply because it is tha. Read more...
summary: it is time to get together, the 1st music off of i am getting rainy, opens with a rapid-fire guitar line - not anything fancy, only a couple crunchy strength chords to acclimate the ears - repeated two times ahead of a booming bass drum joins in to supply a quarter-note countdown. A faint, swirling impression intensifies with every one bass kick and, via the 8th one, the ears have prepped themselves for the steel mayhem they're approximately to obtain. whilst all of it drops, and the joyous onslaught of 100 guitars is eventually learned, you will have to forgive your ears for being duped right into a fake experience of protection, simply because it truly is tha
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Extra info for Andrew W.K.'s I get wet
I knew Andrew well enough to know that this wasn’t cynical. There was nothing contrived about the degree to which he was trying to be iconoclastic. ” *** Some of the late night work Andrew did on Morgan’s computer was for WOLF “Slicer” Magazine, a ’zine-like publication Andrew created and was quick to correct when someone—like Morgan—called it a ’zine. Issues featured pictures of him and the Jumble Gym, fake letters (one that inspired Morgan to name his band Sightings), articles praising Scream 2 (“It is fun, scary, funny, and cool/neat: just perfect for the summer heat, and a treat”), and diatribes that show up mid-article—as • 41 • I GET WET if by copy-and-paste malfunction—about standing up for what you believe, making people laugh, and preaching an ALL CAPS phrase (“NEVER LET DOWN”) and philosophy he later turned into a song on I Get Wet’s follow-up.
Andrew’s style meant a lot of movement along the neck, however. Back to laymen’s terms: one advantage to the mutated-hand formations is that the hand can often go chord to chord without necessarily a great deal of movement up and down the neck; a power chord approach doesn’t have that luxury, and Andrew’s particular approach surpasses most extremes. Jimmy Coup, Andrew’s guitarist during the first few tours, says that if he were playing parts of “Party Hard” the way Andrew would, he’d be playing the octave-up E chord at the 12th fret, creating treble and what he calls rubberiness that is essential to I Get Wet’s “major keyness” and overall sound.
47 • I GET WET Andrew arrived at Ethridge’s Williamsburg studio sans ax, but did bring some pig’s blood he had procured from a Greenpoint butcher. For this session, Ethridge would shoot film on a 4-by-5 large format camera—think cape over the head—against black velveteen that wouldn’t reflect light. A. basketball jersey, stood before the backdrop for at least one comparatively lackluster portrait. Then, Andrew excused himself. “As I remember, he bashed his nose with a cinder block and it didn’t work,” Ethridge says.
Andrew W.K.'s I get wet by Phillip Crandall