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© Brian Patterson/Corbis
“I was just messing around at home and came up with a pretty lengthy piece, and most of it’s what Clockwork Angels turned out to be.
“Ged and I both like to work on a day. We don’t really bring stuff in, nor do we refer to soundcheck jams any more. We’re both just excited to start on something new. But I had this thing floating around, so I gave him a copy of it, and he really liked it and saw great potential in it. We rearranged it and developed some of the parts a little bit more in the verses. From there, the song just came together.
“I love the strumming in the verses; it’s so energetic. And the pre-verse sections are so dreamy; they take you to another place. There's also that blues section in the middle, which comes out of nowhere, but it really emphasizes the lyric. And then it just falls back into that beautiful, climbing arpeggio. It gives me goose bumps every time.
“Near the end, there’s a vocal harmony that Ged does that almost sounds like a prayer. He sang it for one of the other parts, but it got flipped around. I think Nick is responsible for that. He said, ‘Hey, check this out,’ and we listened to it and figured, ‘Oh, we have got to have that in there.’ It’s really nice, especially since you don’t know where it’s from.”