“I’ve tinkered with various reverbs, delays, and tape echoes over the years and they all have their unique charm, but nothing was doing quite what I wanted. Maybe that’s why when we were writing Blood Year I skipped out on using any of that stuff. But when we got down to “Ghost on High” and “Sinaia” I realized I needed something to give a little spatial dimension to the baritone guitar, and rather than reverting to my standard fallbacks, Mike suggested trying his Afterneath. It was one of those “a-ha” moments. This is what I’d always wanted! This was the sound I was hearing in my head—-just a rich, ethereal sustain and decay to the notes. It was perfect.”