Of course your analysis was dead on target as always! I loved it! I think the beginning of the song, which involved the distortion; Iommi's use of what I call "key shimmering" ; and her tremolo were deliberate choices by both Iommi (with the production and guitar effects he used) and Dyer (with her breathy tremolo) created a disturbing sense of unease for the listener. The guitar with that eerie distorted effect sounded subconsciously like pins and needles pricking the listeners' ears, I think. As always with Iommi (who most people including me credit with creating real metal in 1970), the guitar sound and the big descending riff I think were gripping and a pleasure to listen to.
Gôtt! All the way from Gothenburgh Sweden :)
Of course your analysis was dead on target as always! I loved it! I think the beginning of the song, which involved the distortion; Iommi's use of what I call "key shimmering" ; and her tremolo were deliberate choices by both Iommi (with the production and guitar effects he used) and Dyer (with her breathy tremolo) created a disturbing sense of unease for the listener. The guitar with that eerie distorted effect sounded subconsciously like pins and needles pricking the listeners' ears, I think. As always with Iommi (who most people including me credit with creating real metal in 1970), the guitar sound and the big descending riff I think were gripping and a pleasure to listen to.