For this one, I'd had the thought of following what I was hearing intuitively. It turns out that what I was hearing was some sections of 4/4 against 7/4, some all-4/4, and some all-7/4. I recorded these in a couple quick sessions Friday and Saturday evenings, and it just hung together. (Admittedly I recorded a lot of false starts and sections I ended a beat too soon, which I threw out. One has to keep count.) This one exhibits my safe-space of chugging along on some barre chords, but one is allowed to have some safe space.

Guitar: PureSalem Mendiola, back to three tracks of just guitar. Some convolution reverb send from each track, and the multiband eq/compression on the stereo.

The title comes from a town near the A614. Not directly adjacent, but it's a better name than, like, Wormley Hill.

This one's back in the three-track-of-guitar territory, though my tracking/composition process was a little different. For most of these, I'll record a motif, respond to it with two other motives. I'll mute two of them and then record two more in response to one of them, then mute that previous one and respond to the just-recorded others, repeating the process until I have as much material as I want, or want to create something different as a contrasting section.

For this one, I recorded a motif, responded to it in two other tracks, and then moved on to a new motif, without playing against the previous motives. The result...maybe had a little more variation and required a little more care in editing sections together. One interesting side effect was a key change between two motives and the other four.

This one's three tracks of PureSalem Mendiola, recorded straight to the UA Volt-1. There's a bit of convolution reverb send from each track, and compression/eq on the stereo mix.

The title comes from minor planet 597 Bandusia.