'O.A.R.S' BY CRYSTAL CHAPTERS - FROM IDEA TO EAR

THE CONCEPT

'O.A.R.S' is an album that explores the concept of ‘Madness at Sea.’ It's a topic we became really interested in after watching two films, ‘The Mercy’ (Colin Firth and Rachel Weisz) and ‘The Lighthouse,' starring Mark Lewis Jones and Mark Jibson.)

Madness at sea is, broadly speaking, a phenomenon where seafarers such as sailors and lighthouse keepers would, due to the nature of their job, endure intolerably long stretches of solitude, claustrophobia, stress and danger. This, coupled with loss of sleep and nutritional deprivation alongside extreme loneliness and lack of contact, would lead to extreme paranoia and eventual madness.

There have been countless witnesses to - and victims of - madness, hysteria and delirium at sea, and 'O.A.R.S.' is a collection of songs which attempts to explore this idea, and through the song writing, instrumentation and production, examine the causes and effects of these afflictions.

On this collection of songs, we have tried to tell these stories in the most compelling way we could, and of course through the music pay tribute to those who, reflecting back, were suffering largely from what we would now describe using terms such as 'mental illness' and 'PTSD,' and other disorders that were caused or exacerbated by this desperately intense yet strangely alluring life.

The thing that really inspired us musically was the paradoxical nature of the idea of being driven mad or compelled to some kind of severely compromised grip on reality, because many of us feel that 'sailing away' and being carried across the globe on the ocean would bring a sense of extreme liberation, unshackling us from the everyday restraints and complexities of domestic life and relationships.

Rich's 'Ghost Ship' is the painting that served as a constant symbol throughout the recording of 'O.A.R.S' of the desolation and sinister effects of madness at sea.

In reality, life on board a ship or lighthouse - depending on one's role, personality and of course reaction to life on the seas - would often bring the opposite. From Christopher Columbus to Donald Crowhurst, there have been countless witnesses to - and victims of - madness and hysteria at sea after enduring extreme sensory deprivation.

WRITING

Crystal Chapters has always been a music project that embraced strangeness ness, dissonance and in general, any sonic activity that gives the listener as much tension as it does pleasure. As such, historically, after the songs were written, there would always be a predominant ethos of experimentation and improvisation. 'Try it' is the phrase used often in recording sessions - and over the years, this policy has produced some memorable moments musically.

We created a snare sound on 'Destined to Vanish' by ripping cello tape, we've whacked symbols and dropped them in water, and in my all-time favourite moment of extemporisation, we achieved the percussion for 'Dreich' by hitting the studio kitchen pipes. (It was - and remains - the only time we've used the actual building as an instrument.)

Rich's 'Steering Wheel' was the first painting for us that really captured our imaginations for both the visuals and sound of the project.

With 'O.A.R.S' and its 'concept album' form, things were slightly different: because we were trying to paint a narrative, we wanted it to be a coherent piece with interlinked songs which built momentum and - rather like the ocean - moved in tidal rhythm. As a result, there was a much more prescribed and 'scheduled' nature to the recording and mixing process, but it was a prospect of change we relished. After all, some of my and Rich's favourite albums are concept pieces ('Demanufacture,' 'Operation Mind Crime,' 'Metropolis Pt. 2: Scenes from a Memory'). So we thought 'let's try it.'

Listening to the album as we close the book on the mastering and gear up for the promotion, we are both really happy that the songs all work hard to tell our story of madness at sea, yet retain their own personality. From the melancholy and skeletal 'Morning Black,' the gothic and forbidding piano of 'Tide Indifferent,' to the dark, string-laden folk tones of 'Sacristy Cove,' we worked hard to ensure the songs stood alone as engaging, characterful pieces, as well as steps within a narrative.

Of course, there were plenty of moments for experimentation, particularly in post-production. Which brings us nicely on to the man at the helm of the sound.

LUKE AND THE ALMA VALE STUDIOS, BRISTOL

Working with Luke Cawthra at Alma Vale Studios was great from moment one. He understood, embraced and respected the concept of 'O.A.R.S' from the get-go, and created a relaxed, pressure-free but purposeful environment with his infinite patience and formidable music and production knowledge.

Luke was open to and excited by ideas which moved away from the planned song directions too; our plan of creating a 20-second interstitial mandolin tune evolved into the 4-minute string piece 'Sacristy Cove,' largely due to his enthusiasm and creativity with strings, scales and structure. In post-production, his treatment of the raw tracks was integral in telling our story compellingly and creating the oceanic yet claustrophobic soundscapes that make up 'O.A.R.S.'

The studio's setting, style and position also felt really appropriate for us as we worked through the songs. The rooms' understated lighting and old as well as contemporary instruments created a moody and isolated feel - and the lack of natural light and its basement positioning made the Alma Vale feel ever so slightly - and wonderfully - like being on board a ship. Just without the scurvy and trauma...

The other unusual element about recording 'O.A.R.S' was that Luke's situation as producer at Alma Vale Studios - and indeed the future of the studio as a whole - was hanging in the balance. As we recorded there, we were acutely aware that the whole studio's closure due to a huge increase in rent was a very real threat. (This is a threat that went on to become a sad reality, as the much-loved recording space has now closed permanently despite a valiant and community-backed fundraising drive)

As a result, it seemed fitting that our project, which was telling the story of losing control and being sent adrift by powerful and indiscriminate forces, was being headed up by an individual experiencing a very similar phenomenon. It's pretty humbling that we were one of the last artists to record there.

We can't thank Luke enough for his work on this album: his direction, methodical approach and seemingly limitless expertise took the raw concept of 'O.A.R.S' and realised its potential in every department. You can contact him here to find out more about his work and services.

So that's 'O.A.R.S.' We hope you enjoy listening to our third album - we certainly enjoyed making it. The new single 'Morning Black' is out now to stream. Click here to listen.