Épisode 2

This is where the record gets weird, in the best way. Matt processes a mouth drum that Scott McMicken sang and sampled through an old Ensoniq, glues it to the kit with a SansAmp parallel, adds rhythmic subdivision to the congas with a phaser, and tames a piercing agogo bell by pitching it down an octave and voicing it through Echo Boy's telephone setting with zero delay. Then he turns to the bass: a barely-touched LA-2A, EQing after the compressor, and a masterclass in low-end relationships as he sweeps the bass boost between 50, 80 and 100 Hz to show how each choice changes who owns the low end, the kick or the bass. It all ends with the "Peavey parallel," a re-amped bass track that makes the groove translate on laptop speakers and iPhones. Plus B3, guitars, an octave-down guitar double, and chimes through analog delay.