Chords for ALCEST - On the writing & recording of 'Spiritual Instinct' (OFFICIAL TRAILER)
Tempo:
72.825 bpm
Chords used:
C#
A
C#m
B
G#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C#] [C#m] [C#] [A] [B]
[C#] So yeah we recorded [C#m] Spiritual Instinct with Benoit Roux and the name of the
studio is Golden House Studio it's next to Nantes [A] so west of France.
He's the one
who worked on Kodama as well our previous record and he's mixed Ecailles de Lune
and Les Voyages de Lame.
For Kodama I think we we spent quite a lot of time in
the studio.
For this one it was actually not twice longer but quite much longer
and we went a little bit too far with like this studio craziness.
For this one
we we went even further and and you can hear a lot of different textures and
even some electronic elements and [G#m] yeah the challenge was to keep it organic
but also very big and powerful.
The songs were written in a very spontaneous way
and in the end the recording was everything but spontaneous so that's
something [A] that we will try to do more in the future [C#] to try to keep like the
energy of the [D#] first time [A] you play the song.
[C#] Writing is at the same time never the same and always the [B] same.
[C#m] It's a
very cryptic and mysterious process.
Usually I find one riff and maybe two
riffs and I have like a beginning of a song and [A] sometimes can take weeks before
I find the rest of a song.
[C#]
Sometimes a month.
You [G#] just have the beginning [C#m] and
I'm missing the fucking end of this song for so many weeks and I can't find it
and it's like so frustrating but this time [G#m] some of the songs were written in
like one day so [C#m] that was really cool because most of the time it takes ages.
So yeah you have to make sure that every single part [C#] is as it should be so
I'm just getting rid of most of my riffs you know and just keep what I consider to be the [C#m] best.
How Winterhater and I work is I'm sending him the guitar demos and
first he tells me what he thinks about the song because even if he's not like
playing guitar or anything his opinion really matters to me [A] because he has a
very very different way to feel music.
He's way more rhythmic so he likes when
riffs have a certain rhythmic catchiness [C#] and for me I tend to be maybe a bit more
on the melodic [G#m] side and what [C#m] I consider to be like the emotional side but again
like [G#] emotions are very subjective I guess.
He tells [C#] me what he thinks about
the song.
I go record like very shitty drum parts because I'm playing a
I like to bring a few ideas to him.
I send it to him and he adds like his own feel
you know to the drums.
He has a very very great sound you know he's been working
on his drum sound for like many years now.
He's been inspired by John Bonham
from the Lyds Akersens.
He's really into like big [C#m] ass like [A] organic [B] drum sounds [C#] but it's very
interesting like what is inspiration where does it come from?
Well there is no
way to create it.
That's the one [A] thing that is sure you can't decide yeah today I'm
going to write a fucking great song.
No that's not [C#] how it works.
It's in words you
know [A] it's [B] [D] that day you have something to say and maybe you didn't even know [A] it yourself.
[C#] [A]
[C#] So yeah we recorded [C#m] Spiritual Instinct with Benoit Roux and the name of the
studio is Golden House Studio it's next to Nantes [A] so west of France.
He's the one
who worked on Kodama as well our previous record and he's mixed Ecailles de Lune
and Les Voyages de Lame.
For Kodama I think we we spent quite a lot of time in
the studio.
For this one it was actually not twice longer but quite much longer
and we went a little bit too far with like this studio craziness.
For this one
we we went even further and and you can hear a lot of different textures and
even some electronic elements and [G#m] yeah the challenge was to keep it organic
but also very big and powerful.
The songs were written in a very spontaneous way
and in the end the recording was everything but spontaneous so that's
something [A] that we will try to do more in the future [C#] to try to keep like the
energy of the [D#] first time [A] you play the song.
[C#] Writing is at the same time never the same and always the [B] same.
[C#m] It's a
very cryptic and mysterious process.
Usually I find one riff and maybe two
riffs and I have like a beginning of a song and [A] sometimes can take weeks before
I find the rest of a song.
[C#]
Sometimes a month.
You [G#] just have the beginning [C#m] and
I'm missing the fucking end of this song for so many weeks and I can't find it
and it's like so frustrating but this time [G#m] some of the songs were written in
like one day so [C#m] that was really cool because most of the time it takes ages.
So yeah you have to make sure that every single part [C#] is as it should be so
I'm just getting rid of most of my riffs you know and just keep what I consider to be the [C#m] best.
How Winterhater and I work is I'm sending him the guitar demos and
first he tells me what he thinks about the song because even if he's not like
playing guitar or anything his opinion really matters to me [A] because he has a
very very different way to feel music.
He's way more rhythmic so he likes when
riffs have a certain rhythmic catchiness [C#] and for me I tend to be maybe a bit more
on the melodic [G#m] side and what [C#m] I consider to be like the emotional side but again
like [G#] emotions are very subjective I guess.
He tells [C#] me what he thinks about
the song.
I go record like very shitty drum parts because I'm playing a
I like to bring a few ideas to him.
I send it to him and he adds like his own feel
you know to the drums.
He has a very very great sound you know he's been working
on his drum sound for like many years now.
He's been inspired by John Bonham
from the Lyds Akersens.
He's really into like big [C#m] ass like [A] organic [B] drum sounds [C#] but it's very
interesting like what is inspiration where does it come from?
Well there is no
way to create it.
That's the one [A] thing that is sure you can't decide yeah today I'm
going to write a fucking great song.
No that's not [C#] how it works.
It's in words you
know [A] it's [B] [D] that day you have something to say and maybe you didn't even know [A] it yourself.
[C#] [A]
Key:
C#
A
C#m
B
G#m
C#
A
C#m
[C#] _ [C#m] _ _ [C#] _ [A] _ _ [B] _ _
[C#] So yeah we recorded [C#m] Spiritual Instinct with Benoit Roux and the name of the
studio is Golden House Studio it's next to Nantes [A] so west of France.
He's the one
who worked on Kodama as well our previous record and he's mixed Ecailles de Lune
and Les Voyages de Lame.
For Kodama I think we we spent quite a lot of time in
the studio.
For this one it was actually _ not twice longer but quite much longer
and we went a little bit too far with like this studio craziness.
For this one
we we went even further and and you can hear a lot of different textures and
even some electronic elements and [G#m] yeah the challenge was to keep it organic
but also very big and powerful.
The songs were written in a very spontaneous way
and in the end the recording was everything but spontaneous so that's
something [A] that we will try to do more in the future [C#] to try to keep like the
energy of the [D#] first time [A] you play the song.
[C#] Writing is at the same time never the same and always the [B] same.
[C#m] It's a
very cryptic and mysterious process.
Usually I find one riff and maybe two
riffs and I have like a beginning of a song and [A] sometimes can take weeks before
I find the rest of a song.
_ [C#] _
Sometimes a month.
You [G#] just have the beginning [C#m] and
I'm missing the fucking end of this song for so many weeks and I can't find it
and it's like so frustrating but this time [G#m] some of the songs were written in
like one day so [C#m] that was really cool because most of the time it takes ages.
So yeah you have to make sure that every single part [C#] is as it should be so
I'm just getting rid of most of my riffs you know and just keep what I consider to be the [C#m] best.
How Winterhater and I work is I'm sending him the guitar demos and
first he tells me what he thinks about the song because even if he's not like
playing guitar or anything his opinion really matters to me [A] because he has a
very very different way to feel music.
He's way more rhythmic so he likes when
riffs have a certain rhythmic catchiness [C#] and for me I tend to be maybe a bit more
on the melodic [G#m] side and what [C#m] I consider to be like the emotional side but again
like [G#] emotions are very subjective I guess.
He tells [C#] me what he thinks about
the song.
I go record like very shitty drum parts because I'm playing a
I like to bring a few ideas to him.
I send it to him and he adds like his own feel
you know to the drums.
He has a very very great sound you know he's been working
on his drum sound for like many years now.
He's been inspired by John Bonham
from the Lyds Akersens.
He's really into like big [C#m] ass like [A] organic [B] drum sounds [C#] but it's very
interesting like what is inspiration where does it come from?
Well there is no
way to create it.
That's the one [A] thing that is sure you can't decide yeah today I'm
going to write a fucking great song.
No that's not [C#] how it works.
It's in words you
know [A] it's [B] [D] that day you have something to say and maybe you didn't even know [A] it yourself.
_ [C#] _ _ _ _ [A] _
[C#] So yeah we recorded [C#m] Spiritual Instinct with Benoit Roux and the name of the
studio is Golden House Studio it's next to Nantes [A] so west of France.
He's the one
who worked on Kodama as well our previous record and he's mixed Ecailles de Lune
and Les Voyages de Lame.
For Kodama I think we we spent quite a lot of time in
the studio.
For this one it was actually _ not twice longer but quite much longer
and we went a little bit too far with like this studio craziness.
For this one
we we went even further and and you can hear a lot of different textures and
even some electronic elements and [G#m] yeah the challenge was to keep it organic
but also very big and powerful.
The songs were written in a very spontaneous way
and in the end the recording was everything but spontaneous so that's
something [A] that we will try to do more in the future [C#] to try to keep like the
energy of the [D#] first time [A] you play the song.
[C#] Writing is at the same time never the same and always the [B] same.
[C#m] It's a
very cryptic and mysterious process.
Usually I find one riff and maybe two
riffs and I have like a beginning of a song and [A] sometimes can take weeks before
I find the rest of a song.
_ [C#] _
Sometimes a month.
You [G#] just have the beginning [C#m] and
I'm missing the fucking end of this song for so many weeks and I can't find it
and it's like so frustrating but this time [G#m] some of the songs were written in
like one day so [C#m] that was really cool because most of the time it takes ages.
So yeah you have to make sure that every single part [C#] is as it should be so
I'm just getting rid of most of my riffs you know and just keep what I consider to be the [C#m] best.
How Winterhater and I work is I'm sending him the guitar demos and
first he tells me what he thinks about the song because even if he's not like
playing guitar or anything his opinion really matters to me [A] because he has a
very very different way to feel music.
He's way more rhythmic so he likes when
riffs have a certain rhythmic catchiness [C#] and for me I tend to be maybe a bit more
on the melodic [G#m] side and what [C#m] I consider to be like the emotional side but again
like [G#] emotions are very subjective I guess.
He tells [C#] me what he thinks about
the song.
I go record like very shitty drum parts because I'm playing a
I like to bring a few ideas to him.
I send it to him and he adds like his own feel
you know to the drums.
He has a very very great sound you know he's been working
on his drum sound for like many years now.
He's been inspired by John Bonham
from the Lyds Akersens.
He's really into like big [C#m] ass like [A] organic [B] drum sounds [C#] but it's very
interesting like what is inspiration where does it come from?
Well there is no
way to create it.
That's the one [A] thing that is sure you can't decide yeah today I'm
going to write a fucking great song.
No that's not [C#] how it works.
It's in words you
know [A] it's [B] [D] that day you have something to say and maybe you didn't even know [A] it yourself.
_ [C#] _ _ _ _ [A] _