iNtegratron

by the time you hear this i won't be gone

i'm gonna sing it til the end

you won't have to listen

it's just gonna be

once we were enemies

once we were brothers

everytime i hear your call

i see it all

oh

now the centuries fly

beside each other lie

weaving this melody under the skin

would you let me in

i will not stray from your love

from your love

from your love

one night at the giant rock

i saw the ocean from the sky

oh the way we used to fly

remember

leaving the dream behind

walking on water

out by the iNtegratron

where the wind is warm 

it might have to be

and our children will cry

at what we have become

but god loves his sinners

or so moses tells it - is he selling me a lie

or must i go pray for your love

for your love 

for your love

did you see the light

from up on your pedestal

through the eyes of your chemicals

is it coming clear

when you touch me babe

does it all come flooding in

or do you let it go

what can you take from me that hasn't been taken

another time

and i am expecting to pay for your love

for your love

for your love

music & lyrics by astrid young © SOCAN

recorded at the shack, hamilton ontario

engineered & mixed by 

bob lanois (with an additional tweak or two by travis kasperbauer)

harp: bob lanois

all else: astrid

produced by astrid young & bob lanois

mastered by joao Carvalho

Bob and I met through Tom Wilson, who i met through my manager at the time, Tom Dertinger, all Hamilton fellers, which i guess was a taste of what was to come later ... so tom w. brought bob out to my gig at the corktown, we had a couple of fine moments on stage, and bob made as how i should come down to his studio, 'the shack' they called it, and see if maybe we could lay something down. out there in the woods, with the freight trains going by at intervals, we did it up old-school, on 2" tape, and with some sweet API and Neve mic-pre's, some Dolby SR and an old Neve board that the bros. Lanois had brought back from Mexico of all places. the floor was kind of iffy, being made of plywood and kind of boomy, so bob had a method of flying the microphones from the ceiling so there wasn't a chance of picking up anything that carried up from the floor. strange but cool. i think we used a neumann U87, but my memory might not be 100% on that. when we came to mix the thing, ironically, the one and only piece of digital gear that he owned, a TC H3000, had decided it was going to update itself, and basically what that means is that it was not available to use, and since it's a stand-alone piece of outboard that doesn't explain itself very well (and if it did it would probably be in some weird british accent) so we decided to go ahead and mix with only the mic pre's and the lovely tape compression. the result was obviously a very dry mix, but it is so up close and personal ... spooky, even. loved it. 

Bob and I wanted to continue to record that way, but before we could continue, my father passed away, and recording was the last thing on my mind for a really long, long time.