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--- Mar 24 1999 Go to category
Subject: Roots of Coincidence - Pat's comments in MUSICIAN magazine
Category: Specific Tunes
From: musician  magazine (usa)

One of the standout tracks on the new album, "The Roots of Coincidence," features some pretty twisted harmonic movement, starting out centering on Cm, then going down a half-step to Bm, then up to Ebm, then venturing through F, Dbmaj7, Bb, Gbmaj7, and so on. How did that sequence come about?

Pat’s Answer:

All the stuff you mentioned came very quickly, about five minutes. I just heard it. And I was a little afraid to play it for Lyle [laughs], but he immediately said, "That's exactly what this record is." We HAVE entered a different kind of harmonic vocabulary now through bands like Nirvana. The guitar players are still basically playing in fifths [power chords], but a lot of them have gotten tired of predictable I-IV-V things, so they're using different intervals and unusual rhythmic movements--like on the new Foo Fighters record, there's some real cool stuff like that. I would have to say that's an influence, but being the guys that we are, we can't resist some voice-leading [laughs], so it's a weird hybrid of those fifthy kind of things with something like a IV chord with the third in the bass, which sort of blows our cover immediately.

>Soundwise, it at times suggests complete techno-industrial mayhem, along the lines of Prodigy or Nine Inch Nails. Did you hear it that way right from the start?

Absolutely. I go through life with my antenna up. I love music. I became a musician because I'm such a fan. To not play the music that I love seems weird to me. I know a bunch of guys that dig all kinds of stuff, and without them saying it, I know that they feel like, "Well, I couldn't really play that, it might mess up my career--what would Stanley Crouch say?" That is a problem, because that's not our job. Our job is to reflect what we love.