Es muss nicht immer Punkrock sein
Von Uli am 7. Juni 2008, 16:40
Sehr interessantes Interview mit The Long Blondes auf Merry Swankster, insbesondere kriegt man mal einen Eindruck welchen Einfluss der neue Produzent nun auf welche Teile von "Couples" hatte.
JK: On a song like "Century" which is such an obvious departure from what you were doing before, I think writers are pretty quick to attribute the shift to working with a new producer. I was wondering to what extent changes in your sound are externally influenced, or to what extent they were a natural manifestation of the direction you wanted to go anyway?
Reenie: That song was nearly fully written before we even went anywhere near Erol Alkan. It was more or less the exact same song that we had practiced in Sheffield. Then we just recorded it in London, so that's probably not the best example of it, though it would seem so.
Dorian: People seem to have picked up on it because it's the first track as well. You've got a lot of people who don't seem to have actually listened to the record, and they're like "I see that you've gone electro man!"
Screech: Someone was saying to me the other day, "Oh, it's interesting, how will you play 'Century' live when it's just Kate singing over backing soundtracks." And I was like, no it isn't. That's us playing those instruments. It's not like Erol's just done some "banging techno beat" and Kate sang it and we just sat there twiddling our thumbs. I mean we did write it and play it.
Alkan also mehr als Editierer und Klangpolierer denn als großer Ideengeber, das passt auch sehr dazu wie dieses Album von Ambition und dem Willen zur Verbesserung profitiert hat. Man vergleiche mal z.B. eine frühe Version von Guilt mit der Albumversion oder gar der derzeitigen Liveinkarnation und achte darauf wie Details einen Unterschied machen können. Jackson singt die gleiche Melodie, aber die Betonung der Lyrics und der Klang ihrer Stimme ändern sich. Die Gitarren- und Schlagzeuganschläge werden besser platziert und sicherer, das Zusammenspiel der Band tighter, die Synth-Sounds mutieren von leicht deplatziert wirkend zu einem selbstverständlichen Element das die Musik bereichert. Klar klingt das Ergebnis dann anders als das relativ schnell eingespielte Debütalbum, aber.. naja, siehe Überschrift
JK: On a song like "Century" which is such an obvious departure from what you were doing before, I think writers are pretty quick to attribute the shift to working with a new producer. I was wondering to what extent changes in your sound are externally influenced, or to what extent they were a natural manifestation of the direction you wanted to go anyway?
Reenie: That song was nearly fully written before we even went anywhere near Erol Alkan. It was more or less the exact same song that we had practiced in Sheffield. Then we just recorded it in London, so that's probably not the best example of it, though it would seem so.
Dorian: People seem to have picked up on it because it's the first track as well. You've got a lot of people who don't seem to have actually listened to the record, and they're like "I see that you've gone electro man!"
Screech: Someone was saying to me the other day, "Oh, it's interesting, how will you play 'Century' live when it's just Kate singing over backing soundtracks." And I was like, no it isn't. That's us playing those instruments. It's not like Erol's just done some "banging techno beat" and Kate sang it and we just sat there twiddling our thumbs. I mean we did write it and play it.
Alkan also mehr als Editierer und Klangpolierer denn als großer Ideengeber, das passt auch sehr dazu wie dieses Album von Ambition und dem Willen zur Verbesserung profitiert hat. Man vergleiche mal z.B. eine frühe Version von Guilt mit der Albumversion oder gar der derzeitigen Liveinkarnation und achte darauf wie Details einen Unterschied machen können. Jackson singt die gleiche Melodie, aber die Betonung der Lyrics und der Klang ihrer Stimme ändern sich. Die Gitarren- und Schlagzeuganschläge werden besser platziert und sicherer, das Zusammenspiel der Band tighter, die Synth-Sounds mutieren von leicht deplatziert wirkend zu einem selbstverständlichen Element das die Musik bereichert. Klar klingt das Ergebnis dann anders als das relativ schnell eingespielte Debütalbum, aber.. naja, siehe Überschrift
