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“It’s quite angry. It’s a piece that always works live, because it’s one of the aforementioned songs where there’s enough going on, with lots of little twists and turns that always has people back on board.
“It tells a story, and it’s fun to play live because it’s in your face pretty much the whole way through. Again, it’s quite demanding vocally – I’m pushing myself quite hard. There’s some great, old-fashioned rockin’ riffs, which are always nice live.
“It’s interesting: the first two minutes are just a pure adrenaline rush. Structurally, it’s cool to put that right at the beginning, and then the speed gradually goes up and up. I actually built tempo changes into the songs. This is not something I would have done before because, you know, tempos have to be steady. But I wanted subtle, gradual changes, which gives you a sense of momentum, like you’re heading for a cliff. These tempo changes are both live and on record.
“Over the past few years I’ve been remixing classic albums, and the musicians that made those records never worked to click tracks. Bill Bruford’s timing is all over the place – speeding up, slowing down, what have you. I absolutely love that. Inherently, it gives you a feeling of excitement. It sounds great.”