Wow, I'm 2 songs into the new Cut Copy and it's starting out juuuust the way I would have wanted...
Wow, I'm 2 songs into the new Cut Copy and it's starting out juuuust the way I would have wanted...
no, you may not. just go the fuck away already...you are a massive fuckwad and nobody cares to hear anything you have to say. zzzzzzzzzzzzz
get out of the music lounge, anus. go back to the coachella discussion threads where your retard comrades reside.
It's been 4 years. Nearly 400 shows. Close to 400,000 miles traveled. 50 songs written for this record. Many of them were played first for many of you.
Our new song "Changing" will be available on February 1st. You will probably be able to hear it online first. Probably on our YouTube channel. Probably right here:
The song was originally called "Something You Own." It's a song about conflict and resolution, resisting and accepting Change. But lets not spend too much time dancing about architecture... Better just to listen and let it become part of the day..
Our second record will be titled All at Once. It will be released on April 25th in Europe & April 26 in North America.
It's probably both quieter and louder than our first record. There wasn't any particular decision to be either like or unlike our first record. In some ways, it is the former; in others, the latter. It's called "All at Once" because the songs deal with the idea of sudden change—how life generally doesn't change incrementally. Your parents die, a child is born, the airplane shakes, a former love from a former life walks casually by you on the street, and suddenly everything is different. We live in the quiet passages between these extraordinary moments of change. It's exhilarating. It's terrifying. It can be monstrously disfiguring. It can be potentially redemptive.
So much of it has to do with loneliness. There's something about sharing these things that make them less terrifying. That's why this has to do with you and what you've given us in the past four years. Because there's a moment of recognition that happens where you see yourself. You see your thoughts in others and feel a kinship, as if the idea isn't some horrible thing locked in your head, but one of many ideas that are part of a grand narrative that all people share. And there's a true joy to seeing the reality of it this way—like the perspective of someone 100 million miles away on some tiny speck in space, looking back at Earth. That's what writing even this feels like. Hello. I would like it if we knew each other.
There's more, but then the record isn't actually out for a few months... For now, it's important that you know that you are part of this. And we did not take it lightly. And nothing was by accident. We are very proud of this record and the songs about:
conflict and war and disorientation and the kids on the wall and the girl who appears in a dream and the graveyard near the house and the parents we knew and the prisons they escaped and the ones they constructed for us and how, in the final analysis, we did so much simply to catch the eye of someone we loved.
All at Once.
We've got more big news to announce, including plans for shows where we can meet again, but we're going to wait until February 15th to do that. It'll give us something to look forward to.
Posts not worth reading... You're making them.
nobody's reading your posts now, fucktard. ignore.
FairfaxandFountain has not made any friends yet
Last edited by GeezrRckr; 01-21-2011 at 07:38 AM.
So that Akron/Family...
Ignore feature. Utilize it.
what Patrick said. do this and we get our thread back. simple.
Wasn't feeling Zonoscope when I first heard it... definitely a grower. Really looking forward to seeing them.
The National/Warpaint - 4/21 - Moody Theater
Thee Silver MT. Zion Orchestra - 4/22 - The Mohawk
Mogwai - 4/24 - Emo's
Cloud Nothings/The Men - 4/26 - The Mohawk
Austin Psych Fest - 5/2 - 5/4 - Carson Creek Ranch
King Khan & the Shrines - 5/30 - The Mohawk
Cut Copy - 6/21 - Stubbs
Swans - 6/27 - The Mohawk
Boris - 7/29 - The Mohawk
THE KILLS TALKS ABOUT THEIR UPCOMING NEW ALBUM
"We were in the studio and we were absolutely broke. We were panicking and wondering if we were ever gonna finish this record. We were physically ill, mentally ill. So... we just ran away to Mexico. We were just going to hide there for as long as we could. We had these visions of drinking mojitos on the beach. And when we got there... it was hurricane season." - Jamie Hince on the making of their 3rd album, Midnight Boom
Jamie Hince and his musical partner Alison Mosshart believe that your art is something you live, rather than something you merely do. Therefore, the conventional approach to recording an album - write some songs a bit like your last songs, book flashy studio and ear candy-providing producer, be professional and get home in time for tea - is not an option for them. The Kills make music that sounds like the stripped-to-the-bone nub of the crux of the sex and death and madness at the heart of the very best rock 'n' roll. And the only way to pull that off is to put themselves through the creative, physical, financial and emotional mangle. "It was definitely a journey," confirms Alison, with the sanguine air of one who believes that anything that doesn't kill you makes you stronger. "We wrote so many records before we got to this one. It took a few failed attempts and different situations and going to different places and running out of money in order for us to get it together and write the right record."
The Kills formed in 2000 when a boy from Andover, England and a girl from Florida, USA met in a South London hotel. "It was like we'd lived parallel lives", Jamie recalls. Both had been to art college, the boy had just left a punk-pop band called Scarfo and the girl wanted to leave a punk-pop band called Discount, and both were disillusioned with the musical scenes they were part of. "We had these bedrooms on different sides of the Atlantic which were full of artworks and films and music that we'd made for no-one to listen to. We had so many things in common. It was at a time that if you spent a lot of time making art and dressing up you got beaten down for being pretentious. Everything was about being down to earth. And we both just felt this relief when we met each other." Alison was so convinced that this was the creative partner she'd always been searching for that she decamped from Florida to Jamie's flat in South London.
Inspired by a mutual obsession with The Velvet Underground, '70s London and New York punk, they formed a duo called The Kills, rejected everything they'd begun to hate about being in a rock band, got themselves signed to Domino and made a spectacularly sexy garage-punk album called Keep On Your Mean Side in 2003. Buoyed by the deserved critical acclaim for this and their incendiary early live shows, but also nonplussed by the fact that they were, once again, in a proper band with a record deal, they made a completely different, yet equally spectacular second album in 2005 called No Wow. A minimalist pop masterpiece, it was one of those records that made some into Kills fans for life, but most utterly confused. "No Wow’s really special to me," reckons a defiant Jamie. "I was listening to lots of Cabaret Voltaire and Suicide, and wanted to make something stripped-down, and was determined not to make another garage-rock record like the first album. We were trying to make a Suicide record. More like a commercial suicide record...''
So, in light of that, is Midnight Boom, which has some goddam catchy tunes and features the beat-making skills of SpankRock producer Alex Epton aka Armani XXXchange, a conscious attempt to make a more commercial record? "Absolutely not," responds Jamie, with something approaching horror in his voice. "We were just enjoying ourselves. I know we’re seen as dark, brooding, twisted and semi-gothic - but we've never felt like that. Midnight Boom is more in keeping with what me and Alison were doing when we first met. More tongue-in-cheek and less conceptual. People do tell me that Midnight Boom is more accessible. But the way I was brought up in music, words like accessible and commercial are still insults to me. Ha!"
"We wanted to make something very different from No Wow and Keep On Your Mean Side. I'd always talked it up in interviews that I wanted to be really forward-thinking and dispense with all influences. So I was determined to do that on this record. We'd toured No Wow for 14 or 15 months, and started work on the new record in January 2006. At first we ended up with an albums-worth of folky acoustic songs. We might put that out in the future, but I knew this wasn't what I wanted for this record. What kicked us off in another direction was a film I found called "Pizza Pizza Daddio" which is a '60s documentary about kids in inner-city schools in America, observing all the songs that they were singing in the playground. We just started building rhythms around those and had this concept of coming up with modern-day playground songs. Cos they're really quite dark. Cutting people's thumbs off, kicking people in the face, throwing ‘em down stairs. I kinda liked it. So I got this old MPC-60 hip hop drum sequencer and just started making rhythms on that. And these playground songs ended up as Midnight Boom. "Cheap & Cheerful" was the first playground song we came up with and then it developed from there. "Alphabet Pony" is based around that, too."
With the basics down, The Kills started recording in Los Angeles, but they were discouraged by their environment. The pair decamped to Key Club in Benton Harbour, Michigan, where they'd recorded No Wow. Alison and Jamie's best friends run the studio and it's there where the Midnight Boom title came from. "That moment when the moon comes up and everyone goes to bed...it almost seems like time doubles. You can get so much more work done and you feel that magic happens. We worked from midnight to ten in the morning and slept all day. That's just how we like to do it. I get anxious during the day. I need to get lost in a record." explained Alison. After two months in the studio, writing and recording, and experimenting with the drum programming, Jamie felt he needed a "veteran of beats." SpankRock's YoYoYo was one of their favourite records of that year, and it came about that Alex (Armani XXXchange), SpankRock's producer was interested in assisting with the sound The Kills were after. Tips on how to make the rhythms more violent and gritty were lent and the record began to take a solid form.
Midnight Boom is a reminder that no-one makes erotically-charged rock 'n' roll like The Kills. Even though they have never been romantically linked. Perhaps people wouldn't believe their platonic relationship because Kills songs seem to drip with themes of hedonistic sexual freedom. Or maybe not having sex is the secret to the perfect sensual-musical marriage. ''We're aware that that's how it comes across," Jamie concedes. "We get so many comments about the live shows, about it being sexually tense and sexually charged. But, honestly... that just came out of nerves! When there's two people onstage of different genders, and you're scared to death and don't want to look at the audience so you stare at each other instead, that's just how it comes out." "We're both quite shy and secretive," agrees Alison. "Which is why we don't need other people when we're working. We're just control freaks."
It's a good thing those Mexican hurricanes spilt their mojitos, and made them get on with the job, because the result is their best record so far and one that's going to be difficult to match in 2008. The Kills have come a long way since dreaming about bringing romance and sex and glamour back to rock 'n' roll in a flat in Gipsy Hill.
"The first album was the most honest record ever. We had nothing to lose. The second album was an experiment borne out of frustration. It was written and recorded in a month, a crazy idea. Midnight Boom is a journey where you don't think about anything you've done before and everything just...falls out of you. We're very proud of it." - Alison Mosshart
stupidity is contagious.