dark and so difficult that we should hide in a Then we also have some 80’s influence, and prepare and feel solid in your arrangement
corner somewhere. So those kind of moments, some bells, and some really different sounds and how the songs are put together, the more
I think even theologically, are kind of woven on keys, and we have lots of percussion. freedom you feel on the back end to flow off of
throughout the project and my prayer is really There are congas, there are bongos, and that. We spent a good amount of time in the
that it would cause people to think and cause there are all kinds of layers of percussion. I studio dialing in these arrangements, and a big
people to align their heart a little bit more with feel like that added a little bit of ethnic flare to part of why we were doing that was because
the joy and expectation that they hear from us it, brought a little bit of a nations element, but we wanted to continue to use them. Not just
as we declare these things. it also just felt like it brought a little more joy for a record, but I lead these songs and these
and some vivaciousness to it. Jeremy Edwards arrangements at our church on a monthly and
[WM] I also love the guitar work on this album, who produced the project came up with a sometimes weekly basis. So, we wanted to
some of the best playing I’ve heard on any game plan and we had a lot of clarity on the craft an arrangement that we felt like would
Bethel recordings! Who’s responsible for all front end for how we wanted these songs to work, and push the boundaries of creativity, but
these great parts and sounds? sound and where we wanted the sound to go. that wasn’t so difficult that no one could play
We felt like we were taking some risks, which it. I feel like we found a pretty good medium
[Sean] The guitar players on this record were I think is important for artists to do, to go for for most of these songs, and we just kind of
Ben Forehand, Jonathan Lee and another some things that might be a little different than worked at it until we felt like we had it in a place
friend from a band called Sunbears. The guitar what’s been done in the past. We felt like it was where we could try it live and capture it.
parts, and really the music as a whole, took worth it.
a long time to craft a sound that we felt was
[WM] Although you’re mainly seen strumming
fresh. With Worship music, I think by and large [WM] How much time did you invest in pre- an acoustic, you not only play Duesenberg
the electric guitar has been fading away a little production, and what is your approach in terms guitars, you’re a featured artist on their web
bit and it’s kind of become more keys and synth of ‘rehearsing for the spontaneous’? site. How did you connect with them and what
driven. With this record, we kind of wanted to
is it about those instruments that speak to
bring back the guitars, bring back the lines, [Sean] I think spontaneity is the reward
bring back the joy and bigness of that sound. of preparation, so I think the more that you
26
December 2018
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