Discover the Sonic Evolution of Far Caspian in *Autofiction*
Hit play on *First Day*, a highlight from Far Caspian’s latest release, *Autofiction*, and you’ll quickly find yourself immersed in a soundscape reminiscent of early R.E.M. and the ethereal layers of shoegaze.
Less is More: A Shift in Guitar Layers
Joel johnston, the creative force behind Far Caspian, emphasizes a significant change in his approach for *Autofiction*. In a conversation with *Guitar World*, he reveals that he intentionally reduced the number of guitar tracks from the 40 layers featured in his previous album, *The Last Remaining Light*, to just three for this new project.
“I wanted to ensure that we could perform as many tracks live as possible,” Johnston explains. “After releasing *The Last Remaining Light*, we faced challenges replicating the album’s sound during live sessions because of the overwhelming number of guitar parts.”
Crafting a Live Experience
Johnston’s strategy for *Autofiction* was to simplify the recording process. “For this album, I aimed to play through the entire set live, which meant recording just three distinct guitar parts for each song,” he shares.
Despite the minimalistic approach, the potential of three guitar parts is immense. The album’s closing track,*end*,showcases this beautifully,building from a tense,hypnotic rhythm into a powerful crescendo that feels almost like a sonic storm.
Translating Studio Magic to the Stage
How does this explosive finale translate to live performances? “I realized that by layering the same part,we could recreate that sound live. We just rely on our pedals and hope for the best,” Johnston notes.
A Journey Through guitars
Johnston’s affinity for Fender offsets has been a constant throughout his musical journey. Starting as a drummer, he didn’t pick up the guitar seriously until he turned 19, influenced by the instruments left around by his older brothers.
His first guitar was a Mexican-made Mustang, soon followed by a Japanese ’96 Mustang, solidifying his loyalty to Fender offsets. “I exclusively buy Japanese Fenders now because they offer exceptional quality at a fraction of the price of American Vintage models,” he explains.
It was the Jaguar that truly resonated with him. “After trying a friend’s Jaguar, I acquired a ’94 Japanese model, which became my go-to due to its three pickup options and the ability to roll off the low-end,” he adds. “It pairs perfectly with my Fender Princeton amp.”
Pedalboard Essentials
On stage, Johnston utilizes a JHS 3 Series Compressor paired with a TC Electronic Hall of Fame reverb, ensuring a rich sound. His setup also includes a Hudson Broadcast, a Boss SD-1 overdrive for added texture, an EHX Canyon for looping, and a Boss DD-6 digital delay.
He recently expanded his collection with an EHX Memory Man and a Fairfield Circuitry Barbershop overdrive, both acquired during Far Caspian’s recent U.S. tour.”Even though my pedalboard is minimal compared to others, it marks a significant evolution from my earlier, cleaner sound,” he reflects.
Embracing the Fuzz
“I used to be fixated on achieving a super-clean sound,almost like a direct input,” Johnston admits. “I relied on a Vox AC15 with the gain turned down to avoid any distortion. Eventually, I found that approach quite dull and discovered the joy of fuzz.”
“Now, my sound revolves around gain-staging across the pedalboard, allowing me to easily switch effects on and off, especially with the delay feeding into the fuzz. That’s become my favorite aspect of our live shows,” he concludes.
Looking Ahead
What’s next for Johnston? ”I’m currently working on a few predominantly acoustic tracks,” he reveals. “I’m intrigued by the idea of incorporating more acoustic guitar into my sound, aiming to record it in a way that feels anything but conventional.”
