QUATTRO

I really felt the need to work on something like In Major in the moment I started it. It’s instantly joy!
And only back then, during the storm, I thought of working on an album.
Weeps builds with a stubborn choir over the notes of George Harrison’s While My Guitar Gently Weeps. This song is full of love and suffering.
Drum And Pella is an interlude. There comes the double bass, a very slow rhythm kicks in, then the wind instruments. The music doesn’t seem that defined, the sounds take over. In the making I thought of an accurately constructed confusion, which follows in Donksy Beat, where in the beginning the tempo deceives while I felt hesitant. Then the chaos slowly fades away and on a hypnotic state, a slide guitar and delay give a feeling of relaxation and apparent quietness.
A pause is needed.
I felt the necessity of going back to an order! The Dodge Man is funny, but in my stomach I still felt the chaos. In spite of it, an elegant bounce between tape-recorded vocals and drums anticipated a wave of change. After that, things went differently…
Inspired by Tchaikovsky, the melody on Gli Zufoli perfectly matches with drum machines and bass synth. The music flows elegantly, I could feel again the joyful breeze of the storm.
Quattro is like a run through the emotions emerged so far within the album, the groove is confident, because reason is finally back.
Absolutely Mallet, to close. The artificial arpeggio of marimba and percussions lead to an intricate, yet sensual and tropical mood, which vanishes into a sweet fade-out of synth pad.
Yours sincerely, Modus.