The bass guy.” “I’ve been out there and it’s the same thing – I haven’t been playing with a bassist, with an electric bassist. That’s another thing – that one thing. I like it to be raw and the bass has to be more raw than the electric bass, in that sense of the character that I had on the guitar, or more raw, more visceral, more full of energy, than the electric guitar. On the keyboard, that’s not the case, so that’s been something that’s been a very strong asset.”
Pitchfork: You’ve played a lot of different styles of guitar, from acoustic and electric blues to hard rock and everything in between. How do you get from one style to another?
Matt: There’s a few layers of it, but it’s always a question of getting one’s feet wet with playing at a faster speed and then refining that. The first album that we did, we did a lot of that, then we kind of fell in love with it and it kept kind of evolving as we played. There’s so many times when you get up on an instrument where you just feel like your playing will jump out at you. You get the feeling that you get it before, and then you get it and you feel it over and over again in your playing – it was a very satisfying feeling. And then that came to the album with this particular album, “Celestial,” which is a lot more progressive. For me, that’s one of the things that I’ve learned and that I’ve played so many times and I think it’s gotten better and better. I think it’s more of an expression of what the album is and how it came out with these songs. So that’s one of the big things that I’ve kept going back to is, and I’ll say this for me anyway: It’s not so much about playing guitar like you used to. I don’t do that anymore. What I do for me is I use it as a tool to push my musical instincts to where I want they to go, and once I push it to my place in the progression, it kind of gets really good on itself and I’ve gotten really comfortable doing that. As a guitarist, I still try to play what I love to do – playing in my comfort zone and feeling what I want to push those sounds towards. If that ends up sounding a bit dissonant, that’s OK because I don’t care that it sounds a bit
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