You should follow your instincts really. It’s not easy to find people on the same wavelength but it helps considerably if you are, then as a band you’ll have more chance of developing rather that taking back-steps to fall in line, or possibly substitute someone. Once you’re a strong unit anything’s possible. And explore your musicality, don’t let form dictate – go where others don’t.
Try to sound pure, not proficient, and unlike anyone else.
I think that must be another Steve Jansen. I only dance for comedic effect.
First ever portrait photo session with Sheila Rock.
I become interested in it when I was in my late teens but I’ve never considered it a part of my career. I suppose now that I’ve published a retrospective photo book it is in a way.
I think we’ve established that we all welcome that possibility.
I was surrounded by smokers therefore it was easy to grab one, but it wasn’t really for me. I’m not a smoker despite how it appears sometimes in those early photos.
We have been talking about that recently, possibly if I’m in Japan this spring/summer, but it would most likely be more an improvisation collaboration for a live performance rather than a recording per se.
Red Guitar snare was recorded in a stone stairwell at Hansa Studios, Berlin. The reverb created by the snare in the stairwell was then fed through a Leslie Hammond organ rotary speaker which spins, giving a stereo effect. This was added to the snare sound to create what you can hear, a sort of breathy modulation (the fact that the snare spring was not applied to the snare helps to create a more smooth, rounded sound). Listening to the GN track you mentioned (which I’ve not heard before and I can see why you would ask) I think the snare processing is different – perhaps a flanger of some kind which makes a more synthetic sound suitable for his material – (the snare spring applied gives it a more metallic edge too), and it does sound performed rather than a machine. But… ask him.
News has been posted on my official facebook page. We are collaborating compositionally and as musicians. These guys are all very talented at what they do so I’m in great company. I have contributed lyrics for Thomas’ lead vocals and have also added some backing vocals. I’m sure we will explore one another’s ideas and contributions to the full over the coming months.
The mood and lyric content on the album subtly addresses aspects of transience and transformation and the complexities of holding onto what we feel is precious.