"New Paths to Helicon, Pt. 1" | ||||
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Single by Mogwai | ||||
from the album Ten Rapid (Collected Recordings 1996-1997) | ||||
A-side | "New Paths to Helicon, Pt. 2" | |||
Released | February 1997 (UK) | |||
Format | 7" | |||
Recorded |
MCM Studios Hamilton, Scotland |
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Length | 6:00 | |||
Label | Wurlitzer Jukebox WJ 22 (UK, 7") |
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Producer(s) | Andy Miller | |||
Mogwai singles chronology | ||||
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Ten Rapid (Collected Recordings 1996-1997) track listing | ||||
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Government Commissions: BBC Sessions 1996-2003 track listing | ||||
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"New Paths to Helicon, Pt. 1" (almost always referred to as "Helicon 1") is a song by Scottish band Mogwai. It was first released as a double A-side with "New Paths to Helicon, Pt. 2" on 7" limited to 3,000 copies. It was later included on the 1997 compilation album, Ten Rapid (Collected Recordings 1996-1997). The single reached #2 in English radio presenter John Peel's Festive Fifty Chart in 1997. The single's cover art shows details from the McMinnville UFO photographs.
"Helicon 1" is a regular part of Mogwai set lists. A live version of the song (recorded by Steve Lamacq from a BBC Radio Session at Maida Vale in March 1999) can be found on Mogwai's 2005 live compilation album, Government Commissions: BBC Sessions 1996-2003, as well as UK music magazine Select's 2000 compilation CD, The Deep End. Another live version of "Helicon 1" (recorded at Rothesay Pavilion, Isle of Bute on 14 April 2001) can be found as B-sides on the Australian, New Zealand and Japanese releases of the "My Father My King" single, as well as the 2001 UK/European Tour EP. When the song is played live, Stuart Braithwaite and Dominic Aitchison switch instruments, Aitchison playing guitar, and Braithwaite on bass, usually sitting down. Braithwaite has commented on this:
The song begins with almost inaudible guitar, heavily delayed and reverberated, playing a descending three note melody. At (0:25), a bass riff (based around the chords of D major and B minor) enters. At (1:00), slightly distorted, heavily delayed and reverberated guitars begin playing along to the bass riff, swooping in and out. At (1:34), a relaxed, slow drum beat begins. At (2:50), all of the instruments pause for a brief second, then explode into loud guitar-driven noise, backed by a steady, heavy drumbeat (to which every snare drum beat is accompanied by a tambourine clash). At (4:28), the distorted guitars and drums end, leaving the soft bass riff to close the song, aided by the guitar melody heard at the start of song, all of which gradually fade out.