“It was written for the live band, the one that Guthrie wasn’t a part of. Consequently, it’s quite pared down. A lot of the other pieces are very layered, but Luminol isn’t – it’s quite simple. There’s only ever five or six voices happening at one time. That’s nice, because it makes it very easy to play live. It’s lean and mean, but it does have a lot of dynamics to it. It moves through many different textures.
“It starts with this very aggressive bass, which is pretty interesting to me – I’ve never sat down and started to write a song on the bass guitar. To hear an album that opens with about 45 seconds or whatever of just bass and drums is pretty unusual. It’s real hammer and tongs; you’re on 11 from the moment it starts. That’s different for me – most things start very mellow, and then gradually you’re moving. But on Luminol I just wanted ‘bang!’
“However, it does go into a very mellow jazz song section, followed by a none-more-pompous Mellotron and a little piano cadenza. Finally, it kind of moves back, which I quite like; I’ve always enjoyed pieces where the themes return but in different contexts, with different gags and things. It’s all in there, and it’s a wonderful song to open the show with.”