Sebastian doesn't exist. It was chosen because the pronunciation fitted the lyrical melody. - Well actually he does. Part of this song is about a holiday and he was the guy at the travel agency who booked it. But that's as far as it goes. I'm now slightly embarrassed about the lyrics although there is nothing to be embarrassed about. So I've decided not to put up the lyrics and keep them a bit vague!

Sound wise, I think it's the best quality in a conservative way. While I think 'CobaltBlueLight ' has an almost 'hazy', surreal sound, Sebastian has the old school sound that's warm and clear ( I have to thank Eden Studios for this). I just wanted to write a simple guitar pop and make it sound like a simple guitar pop. I think the mega-powerful rhythm guitars almost drive the song. The power apparently comes from the strumming, and the sound from the amp, not from any sort of digital enhancement in computer - . It was so satisfying to leave a slice of energy like that.

Sometimes it can be a fight to have what you want in a studio even if you're producing it because it's a norm these days to add lots of digital enhancement to make it sound 'big, bright and punchy'. I mean, it's fine, but from my point of view, if every element in the song is made to sound big and punchy then it's not big and punchy anymore. Some engineers also want to make it sound too perfect, correcting every mistakes by computer software, erasing all the subtlety and personality of the performer. I think in this way your music can end up sounding like computer game music.

But then, I hear that's how most chart hits are produced, and computer game music sells too (I confess I once got hooked with Mario Kart), so of course - they're doing the right thing in that sense.