Sea Power Guitarist Martin Noble on His Triumphant Comeback, Embracing Drum Machines and Finally Embracing Guitar Plugins |

Five years after the release of their previous album, the famous Let the dancers inherit the party, the multi-award winning sextet has re-emerged as a force for good. Truncating their name to Sea Power – to remove any hint of nationalism – the band follows their compositions for the BAFTA-winning video game Disco Elysee with a collection of songs that echo our troubled times.

At Everything was forever, lead guitarist Martin Noble expanded on his love of dual-track chordal guitars and esoteric soundscapes. Here, you’ll regularly find him using AC30s and Fender amplifiers in tandem, alongside more experimental outtakes such as harmonies with a harp and a struggle with an Ebow for vintage-like synthesized sounds.

Citing the work of The Cure and Velvet Underground as inspiration for his hazy passages, Noble and his bandmates again use rock music to lift everyone’s spirits, two fingers at a time. Here are his five favorite guitar parts on the album.

Green Goddess

“When we started releasing this song a few years ago and it did really well live, so we always really knew it was going to be a single. We were almost done mixing the song, but I didn’t Wasn’t happy with how it started. It had a pretty poor intro and as we know, first impressions count. I wanted something more distinctive that would set the song up better. The creak and squeal of the first five seconds are created using an Ebow, specifically at the point where the Ebow hits the strings and you get a sound like huge chunks of metal rubbing against each other.

“I’ve used this technique a lot and it’s one of my favorite ways to use an Ebow. I found the most aggressive sound came from using my Fender Jag, a clean direct DI, no FX, and with the input overload going into the red. I then edited the horrible noises together until I had what I was looking for. I liked it so much that I ended up doing something similar for the start of verse two, but this time I added a ring modulator, tape echo, and phaser, so the part sounds like an old synth.

echo of the lakes

“An early instrumental version of this track features on our video game soundtrack Disco Elysee. We won a BAFTA for it, which was good! The song featured in a scene where a mega-colossal stick insect creature appears from some bull rushes. I had started writing it long before the game. It reminded me of the feeling I got from the song Spiritualized Broken Heart, intensely sad and thoughtful. I kept coming back to it, undermining the melancholy. There are a few guitar parts going on here. Whoever creates sweet chords swells on a double-cutaway Gretsch Duo Jet via a Vox AC30, ambient pickups and a Big Sky pedal for extra delay and reverb.

“Another guitar part is a nice understated lead line played on a Gibson 335 through the old ’70s Fender Twin, with a bit of tremolo and spring reverb. The part really tugs at the heartstrings, but mostly has also the reassuring feeling that everything is going to be okay. I also doubled some of the pinch parts of verses with a harp, which then became the constant main instrument of the song. The guitar solo towards the end was one of those last minute fortuitous additions. A gift that came out of nowhere. It really lifts it somewhere else, heading for a glorious sunrise. I dubbed it with a low fuzz part and a higher clear shimmer part using different guitars and amps. I’m always double tracking. I can’t help it sometimes. I love the sound of choral guitars!


“It started out pretty slow and folksy with plucked acoustic guitars. After a few key changes, BPM changes, an arpeggiated electronic bass line, more keyboards, there was very little room left for the guitars! On a demo, Hamilton (vocals) had added some nice harmonies to the chorus and made a cool guitar harmony with a weird tape echo effect over it. I used his ideas to do the guitar solo at the very end of the song. I doubled a fuzz bass part with a clean upper rank harmony part. I think I was using my 335 and the AC30 and the Fender Twin in tandem. I love the sound of these two amps together. I stole this configuration from Bernard Butler at the time of Suede.


“We had recorded part of this album before confinement. I think the drums and some louder bass and guitar parts were recorded for about half of the songs. However, during the lockdown, we had to program software drums and create the songs at home, hoping that the lockdown would end soon and we could go back to the studio. The dynamics of the battery on doppleganger rarely change, just continuing, which is maybe a symptom of how we did it, but I really like the effect it brings.

“The dynamics had to be created by everything else, so in the verses there’s a clean, mic-close Fender Jaguar through the Fender Twin, with a few choruses to try and get The Cure seventeen seconds ring. In the fuller, louder solo parts, it’s a mix of the Gibson SG with P90s and a 335 through the AC30 and Fender Twin with ambient mics. I had recorded all the guitar parts at home, then I had redone them in the studio. I know Graham [Sutton, producer] used a mix of both throughout the song, even a stem that I accidentally bounced as a band that looks messy, with mistakes, but seemed to work the best.

power of the sea
sea ​​power. Picture: Sea Power Facebook


“I think out of all the new songs, this one had the most versions, and it was all my fault! I changed the bass line so many times which made other parts change as well. Graham was incredibly patient. It was worth it in the end. I originally wanted it to have the feel of the Velvet Underground song Foggy concept and the first guitar solo was done with that in mind. I also tried playing that part on the chorus and it sounded good, so Graham just left the last chorus completely instrumental.

“The solos are all taken from the original demo using my Gretsch Duo Jet plugged into the audio interface and using Logic plugins. I tried playing it on amps in the studio, but it didn’t sound crappy enough” “. Nothing ever beat demo parts. I used to stick to recording only with guitar amps, no plug-ins allowed. Over time, I realized that no matter how you do something, it’s the result that counts.

Sea Power’s new album Everything was forever released February 18 on Golden Chariot Records.