| Rather, it's just the opposite, as White Moth charts the spiritual journey multi-instrumentalist Rudd has been on over the past few years, during which he's traveled the globe and built a devoted following drawn to his amalgamation of folk, reggae, rock and world music. Featuring guest vocals from Aboriginal singers, it finds him paying respect to Australia's indigenous people, from whom the didgeridoo virtuoso has drawn bottomless inspiration. |
 Lyrically, it pays homage to those same people, and also to his wife and children, environmental activists—whom he refers to as the "better people"—and to the people who make this life possible, his fans, who fuel the spirit of White Moth.
Co-produced by Rudd and Dave Ogilvie (David Bowie, Marilyn Manson and N.E.R.D.), most of the album's tracks were captured in the woods of British Columbia's Sunshine Coast at Gggarth Richardson's studio, The Farm. It was there that Rudd, in order to capture the bigness of his live sound, plugged into a P.A. system, which was then mic-ed. Rudd set up various instruments, like his didgeridoos and stomp boxes, in other room
s, from which he and Ogilvie could capture woody tones that could be fused to the electric tracks.
"On quite a few of songs, it sounds like there's bass, but that's just me playing live," says Rudd. "I have a technique that I figured out, where I'm playing basslines off my thumb while I play the melody with my fingers—finger picking. It sounds like a bass player playing, but it's just me. So it's great, I'm especially stoked with how we captured that." |
