We are not ones to write straight verse/chorus/verse material, and if you've listened to our songs, you know that already. This time it's time for one of the most progressive song structures on the album and the penultimate part in our behind the scenes series.
Otto: This is definitely one of the most impressive things we've done. Mainly this song is based on a structure by Henri, which the rest of the band fleshed out.
Lenore really includes some of my favorite moments of the album. The part about two and half minutes in, where we use some odd time signatures, rhythms, syncopation and whatnot, was great already in its original form (and it beats the hell out of me how Henri ever came up with it!), but once Niko started playing a small part of it with a laid-back back beat groove, it transcended to being just simply awesome. Furthermore, how this part ends with an extended drum fill going well past the bar the riff ends up with was originally an accident: Niko never got the hang of it how the riff ended and when the next riff started, so he always started to play this extended drum fill towards the end of the riff in order to catch us up once the next one started!
Henri: I named the aforementioned part “the winner riff” when writing the song. It was years ago, so I’m not exactly sure why, but it might’ve had to do with the feeling I got from the riff, like “Yeah, I’m a winner! Huh!”
Thematically sort of related to Coeur, musically also follows the philosophy of “go anywhere, return if you feel like it”, although decidedly less of a quilt composition. At some point in time I realized we are pretty progressive with our song structures. And hey, that works for us. Also, I remember the first time we played this song live and when the 5/4 outro kicked in I saw a couple pairs of eyes brighten in the audience along with an audible “OOOOOHHHH!”
Otto: I'm not surprised by their reactions; after all I, too, find the outro of the song really great. That 5/4 melody seems to flow with remarkable ease despite the odd time signature and our album version just gets better once the acoustic guitars kick in. I really love that folky atmosphere of the outro when two acoustic guitars play the lead melody an octave apart while a 12-string acoustic guitar keeps up the harmony backdrop intact with its almost mandolin-like sound.
Of Woe or: How I Learned to Stop Worrying and Love the Gloom is out now on our Bandcamp page as well as Spotify, Google Play, iTunes etc.