#nick launay

[nofatclips]

Do You Love Me Like I Love You, Part 13: Abattoir Blues/Lyre of Orpheus - A documentary by Iain Forsyth and Jane Pollard about the album by Nick Cave & the Bad Seeds

#music #nick cave and the bad seeds #nick cave #mick harvey #martyn casey #conway savage #warren ellis #james johnston #jim sclavunos #thomas wydler #nick launay #wendi rose #documentary #iain forsyth #jane pollard #beth orton #mark arm #paul banks #dave gahan #annie clark #alan vega #alexander hacke #max décharné #manon duursma #terry edwards #martin creed #jamie byng #dele fadele #ben goldberg #nick cave & the bad seeds

[mitjalovse]

Domino Recording Company houses the coolest indie musicians. You can tell I'm being cheeky here, but the label does manage to get a lot of incredibly successful players that receive their best reviews at your usual Pitchforks. Yes, you can sense my sarcasm level here, though whoever works there as a scout needs a raise. I mean, Anna Calvi can also be found on Domino with her brand of rock, which keeps being a weird paradox. You see, the elements she uses remain heavily recognizable, yet she positions them in a way you're not used to. Her latest does this the best, since she developed her own tone there by shedding the obvious pointer towards her influences, which few of her peers are willing to do. One can only look forward to her next move, Hunter is a promise with potential.

#anna calvi #hunter #swimming pool #mally harpaz #alex thomas #adrian utley #martyn casey #ming vauze #gillian rivers #fiona brice #ellie stanford #rachel robson #nick launay #10's music #art rock

[sonicziggy]

"Miquelon" by Anna Calvi, Nick Launay https://ift.tt/A1qhrM8

#IFTTT #Spotify #Anna Calvi #Nick Launay

[emotionalcadaver]

5 Favorite Songs at the Moment

Thank you for the tag, @runnning-outof-time!

Tommy's Final Requiem by Anna Calvi & Nick Launay

Cyanide Love by Within Temptation

Dark Paradise by Lana Del Rey

Call Me Little Sunshine by Ghost

Do You Love Me? by Nick Cave & The Bad Seeds

Tagging @shelbydelrey, @cillmequick, @cassieuncaged, @call-sign-shark, @moral-terpitude, @scaryscarecrows, and anyone else interested!

#tag games

[sarah-khal3l]

Museum-Worthy from AICP on Vimeo.

It's Hard to make museum-worthy art. It's harder to make museum-worthy ads. Enter the 2024 #AICPAwards by 11:59pm PDT on Tuesday, March 12th. Winning work will join the film archive at MoMA.

AICP Awards Entry Site: aicpawards.awardcore.com Production Co: O Positive Executive Producers: Ralph Laucella & Marc Grill Producer: Grayson Bithell Director: Brian Billow Director of Photography: Bob Yeoman

Head of Production: Devon Clark Executive Producer: Ken Licata Production Supervisors: Deryck Highbridge, Ivan Zigas Production Coodinator: Nicolas Laucella 1st AD: Paul Norman 2nd AD: Don Johnson Creative Concepts & Consulting: BBDO ECD, Writer: Marcelo Nogueira ECD, Writer: Peter Kain SCD, Writer: Dan Oliva SCD, Writer: Scott Mahoney CCO of the Americas: Chris Beresford-Hill

Editorial: Cutters Managing Director: Craig Duncan Executive Producer: Heather Richardson Producer: Brittany Maddock Editors: John Dingfield & Aaron Kiser Editorial Assistant: Benjamin Porter Color: Company 3 Head of Production: Blake Rice Producer: Nick Krasnic Colorist: Jenny Montgomery Finish: Flavor Managing Director: Neal Cohen Executive Producer: Kate Smith Producer: Brittany Maddock Finish: Ryan Esboldt & Rob Churchill Audio/Mix: Another Country Managing Director: Tim Konn Executive Producer: Louise Rider Producer: Josh Hunnicutt Sound Designer/Mixer: Logan Vines Audio Assistant: Nora Strickstein

Additional Production Credits Camera B Cam Op: Eric Laudadio 1st AC – A Cam: Riley Keeton 1st AC – B Cam: Kyle Petitjean 2nd AC: William Hayes DIT: Matt Love Lighting Chief Lighting Tech: Jeremy Launais ACLT: Adrienne Subia SLT: Anthony Peluso SLT: Hootly Weedn Grip Key Grip: Robert Arroyo BB Grip: Chad Pearce Grip: Colby Dunford Grip: Keith Markham Art Department Production Designer: Maia Javan Art Dept Coordinator: Quentin Burchill Set Decorator: Lulu Stewart Prop Master: Matt Huish Leadman: Chad Axman Set Dresser: Roger Shay Barnickle Set Dresser: Donald Ghio Set Dresser: James Axle Set Dresser: Collin Pulsipher Set Dresser: Ryan Wallace Script / Sound / VTR Script Supervisor: Kristen Calabrese Sound Mixer: Joe Hettinger Boom Operator: Lucien Eagle-Jack VTR: Tom Myrick Make Up / Wardrobe Key Make Up: Linda Barcojo 1st Make Up: Jennifer Gerber 2nd Make Up: Theresa Broadnax 3rd Make Up: Anna Novikova Key Costumer: Laura Eckert 1st Asst Costumer: Craig Ryan 2nd Asst Costumer: Jed Carter Location / Transportation Location Manager: David Nakata Gang Boss: Craig Ash Electric Driver: Daniel (DJ) Hausfeld Grip Driver: Gary Cheek Art 5 Ton Driver: Darren Giarrusso Chef Driver: Jesus de los Santos Production Support Craft Service: Danny Tilbury Craft Service: Jayna Mims Medic: Axel Montoya On Set Layout: James Galeana Site Rep: Christina Rusboldt Compliance Coord.: Marques Jackson Production Assistants PA – P: Steve Rea PA – W: Danny Kellermeyer PA – C: Oscar Reyna PAs: Honour Norman, Jackson Shane, Steven McAnnally, Caris Yeoman, Colby LeMaster, Ryan Llanes, Riley Aronson

[evertjes]

Museum-Worthy from AICP on Vimeo.

It's Hard to make museum-worthy art. It's harder to make museum-worthy ads. Enter the 2024 #AICPAwards by 11:59pm PDT on Tuesday, March 12th. Winning work will join the film archive at MoMA.

AICP Awards Entry Site: aicpawards.awardcore.com Production Co: O Positive Executive Producers: Ralph Laucella & Marc Grill Producer: Grayson Bithell Director: Brian Billow Director of Photography: Bob Yeoman

Head of Production: Devon Clark Executive Producer: Ken Licata Production Supervisors: Deryck Highbridge, Ivan Zigas Production Coodinator: Nicolas Laucella 1st AD: Paul Norman 2nd AD: Don Johnson Creative Concepts & Consulting: BBDO ECD, Writer: Marcelo Nogueira ECD, Writer: Peter Kain SCD, Writer: Dan Oliva SCD, Writer: Scott Mahoney CCO of the Americas: Chris Beresford-Hill

Editorial: Cutters Managing Director: Craig Duncan Executive Producer: Heather Richardson Producer: Brittany Maddock Editors: John Dingfield & Aaron Kiser Editorial Assistant: Benjamin Porter Color: Company 3 Head of Production: Blake Rice Producer: Nick Krasnic Colorist: Jenny Montgomery Finish: Flavor Managing Director: Neal Cohen Executive Producer: Kate Smith Producer: Brittany Maddock Finish: Ryan Esboldt & Rob Churchill Audio/Mix: Another Country Managing Director: Tim Konn Executive Producer: Louise Rider Producer: Josh Hunnicutt Sound Designer/Mixer: Logan Vines Audio Assistant: Nora Strickstein

Additional Production Credits Camera B Cam Op: Eric Laudadio 1st AC – A Cam: Riley Keeton 1st AC – B Cam: Kyle Petitjean 2nd AC: William Hayes DIT: Matt Love Lighting Chief Lighting Tech: Jeremy Launais ACLT: Adrienne Subia SLT: Anthony Peluso SLT: Hootly Weedn Grip Key Grip: Robert Arroyo BB Grip: Chad Pearce Grip: Colby Dunford Grip: Keith Markham Art Department Production Designer: Maia Javan Art Dept Coordinator: Quentin Burchill Set Decorator: Lulu Stewart Prop Master: Matt Huish Leadman: Chad Axman Set Dresser: Roger Shay Barnickle Set Dresser: Donald Ghio Set Dresser: James Axle Set Dresser: Collin Pulsipher Set Dresser: Ryan Wallace Script / Sound / VTR Script Supervisor: Kristen Calabrese Sound Mixer: Joe Hettinger Boom Operator: Lucien Eagle-Jack VTR: Tom Myrick Make Up / Wardrobe Key Make Up: Linda Barcojo 1st Make Up: Jennifer Gerber 2nd Make Up: Theresa Broadnax 3rd Make Up: Anna Novikova Key Costumer: Laura Eckert 1st Asst Costumer: Craig Ryan 2nd Asst Costumer: Jed Carter Location / Transportation Location Manager: David Nakata Gang Boss: Craig Ash Electric Driver: Daniel (DJ) Hausfeld Grip Driver: Gary Cheek Art 5 Ton Driver: Darren Giarrusso Chef Driver: Jesus de los Santos Production Support Craft Service: Danny Tilbury Craft Service: Jayna Mims Medic: Axel Montoya On Set Layout: James Galeana Site Rep: Christina Rusboldt Compliance Coord.: Marques Jackson Production Assistants PA – P: Steve Rea PA – W: Danny Kellermeyer PA – C: Oscar Reyna PAs: Honour Norman, Jackson Shane, Steven McAnnally, Caris Yeoman, Colby LeMaster, Ryan Llanes, Riley Aronson

[jetbelly]

Museum-Worthy from AICP on Vimeo.

It's Hard to make museum-worthy art. It's harder to make museum-worthy ads. Enter the 2024 #AICPAwards by 11:59pm PDT on Tuesday, March 12th. Winning work will join the film archive at MoMA.

AICP Awards Entry Site: aicpawards.awardcore.com Production Co: O Positive Executive Producers: Ralph Laucella & Marc Grill Producer: Grayson Bithell Director: Brian Billow Director of Photography: Bob Yeoman

Head of Production: Devon Clark Executive Producer: Ken Licata Production Supervisors: Deryck Highbridge, Ivan Zigas Production Coodinator: Nicolas Laucella 1st AD: Paul Norman 2nd AD: Don Johnson Creative Concepts & Consulting: BBDO ECD, Writer: Marcelo Nogueira ECD, Writer: Peter Kain SCD, Writer: Dan Oliva SCD, Writer: Scott Mahoney CCO of the Americas: Chris Beresford-Hill

Editorial: Cutters Managing Director: Craig Duncan Executive Producer: Heather Richardson Producer: Brittany Maddock Editors: John Dingfield & Aaron Kiser Editorial Assistant: Benjamin Porter Color: Company 3 Head of Production: Blake Rice Producer: Nick Krasnic Colorist: Jenny Montgomery Finish: Flavor Managing Director: Neal Cohen Executive Producer: Kate Smith Producer: Brittany Maddock Finish: Ryan Esboldt & Rob Churchill Audio/Mix: Another Country Managing Director: Tim Konn Executive Producer: Louise Rider Producer: Josh Hunnicutt Sound Designer/Mixer: Logan Vines Audio Assistant: Nora Strickstein

Additional Production Credits Camera B Cam Op: Eric Laudadio 1st AC – A Cam: Riley Keeton 1st AC – B Cam: Kyle Petitjean 2nd AC: William Hayes DIT: Matt Love Lighting Chief Lighting Tech: Jeremy Launais ACLT: Adrienne Subia SLT: Anthony Peluso SLT: Hootly Weedn Grip Key Grip: Robert Arroyo BB Grip: Chad Pearce Grip: Colby Dunford Grip: Keith Markham Art Department Production Designer: Maia Javan Art Dept Coordinator: Quentin Burchill Set Decorator: Lulu Stewart Prop Master: Matt Huish Leadman: Chad Axman Set Dresser: Roger Shay Barnickle Set Dresser: Donald Ghio Set Dresser: James Axle Set Dresser: Collin Pulsipher Set Dresser: Ryan Wallace Script / Sound / VTR Script Supervisor: Kristen Calabrese Sound Mixer: Joe Hettinger Boom Operator: Lucien Eagle-Jack VTR: Tom Myrick Make Up / Wardrobe Key Make Up: Linda Barcojo 1st Make Up: Jennifer Gerber 2nd Make Up: Theresa Broadnax 3rd Make Up: Anna Novikova Key Costumer: Laura Eckert 1st Asst Costumer: Craig Ryan 2nd Asst Costumer: Jed Carter Location / Transportation Location Manager: David Nakata Gang Boss: Craig Ash Electric Driver: Daniel (DJ) Hausfeld Grip Driver: Gary Cheek Art 5 Ton Driver: Darren Giarrusso Chef Driver: Jesus de los Santos Production Support Craft Service: Danny Tilbury Craft Service: Jayna Mims Medic: Axel Montoya On Set Layout: James Galeana Site Rep: Christina Rusboldt Compliance Coord.: Marques Jackson Production Assistants PA – P: Steve Rea PA – W: Danny Kellermeyer PA – C: Oscar Reyna PAs: Honour Norman, Jackson Shane, Steven McAnnally, Caris Yeoman, Colby LeMaster, Ryan Llanes, Riley Aronson

[mymelodic-chapel]

Yeah Yeah Yeahs- It's Blitz! (Electropop, Dance-Punk, Synthpop) Released: March 9, 2009 [Dress Up Records. DGC Records, Interscope Records] Producer(s): Nick Launay, David Andrew Sitek

#electropop #dance-punk #synthpop #2000s #2009 #Yeah Yeah Yeahs

[tedstunes]

upcoming releases

there is not really a comprehensive calendar of music release dates, so i'm going to try to compile upcoming release dates here. most albums especially from major labels are dropped on fridays fyi.

to navigate, here is the format album/ep - artist [genre] (release date) {other notes}

january 2024

Hot Air Balloon - Pile [alt rock] (january 5)

Letter to Self - SPRINTS [alt rock] (january 5)

Born to Be - Itzy [kpop] (january 8)

Four-Calendar Café - Cocteau Twins [dreampop/shoegaze] (january 12) {remaster/rerelease}

Milk & Kisses - Cocteau Twins [dreampop/shoegaze] (january 12) {remaster/rerelease}

Orquídeas - Kali Uchis [r&b/neosoul/hiphop] (january 12)

Hudson River Wind Meditations - Lou Reed [ambient rock] (january 12) {remaster/rerelease; lou reed's final album}

Big Sigh - Marika Hackman [alt] (january 12)

Lovegaze - Nailah Hunter [alt folk/ambient/fantasy/harp] (january 12)

Pick-Up Full of Pink Carnations - The Vaccines [indie rock] (january 12)

Saviors - Green Day [pop punk/alt] (january 19)

Little Rope - Sleater-Kinney [indie rock/riot grrrl] (january 19)

Is Survived By (Revived) - Touché Amoré [post-hardcore/screamo] (january 19)

Peaky Blinders: Season 5 (Original Score) - Anna Calvi [soundtrack] (january 26)

Peaky Blinders: Season 6 (Original Score) - Anna Calvi and Nick Launay [soundtrack] (january 26)

Everybody Can't Go - Benny the Butcher [rap] (january 26)

Junk - Brion Gysin [avant funk] (january 26) {reissue}

People Who Aren't There Anymore - Future Islands [indie rock] (january 26)

Sadness Sets Me Free - Gruff Rhys [alt/folk rock] (january 26)

Blue Rasberry - Kat Kirby [indie rock/post-folk] (january 26)

Philip Glass Solo - Philip Glass [contemporary classical] (january 26)

Wall of Eyes - The Smile [art rock] (january 26)

What an Enormous Room - Torres [alt rock] (january 26)

Three Bells - Ty Segall [alt rock/glam] (january 26)

february 2024

What Now - Brittany Howard [rock] (february 2)

What Do We Do Now - J Mascis [alt rock] (february 2)

King Perry - Lee "Scratch" Perry [reggae] (february 2) {posthumous}

Chupetones - Meth Math [experimental] (february 2)

Band on the Run (Underdubbed Mixes) - Paul McCartney and Wings [rock] (february 2)

Compassion - Vijay Iyer, Linda May Han Oh, and Tyshawn Sorey [jazz] (february 2)

She Reaches Out to She Reaches Out to She - Chelsea Wolfe (february 9)

What Happened to the Beach? - Declan McKenna (february 9)

Phasor - Helado Negro (february 9)

Rave:N, the Remixes - Kelela (february 9)

Weird Faith - Madi Diaz (february 9)

Forgot About Me - Pouty (february 9)

Magnet Factory - Pylon Reenactment Society (february 9)

Walls Have Ears - Sonic Youth (february 9)

Coming Home - Usher (february 11)

Adult Contemporary - Chromeo (february 16)

Blu Wav - Grandaddy (february 16)

Tangk - Idles (february 16)

This Is Me... Now - Jennifer Lopez (february 16)

Hole in My Head - Laura Jane Grace (february 16)

Grip - Seprentwithfeet (february 16)

The Past Is Still Alive - Hurray for the Riff Raff (february 23)

Rooting for Love - Laetitia Sadier (february 23)

Untame the Tiger - Mary Timony (february 23)

Loss of Life - MGMT (february 23)

Daniel - Real Estate (february 23)

march 2024

YHWH Is Love - Jahari Massamba Unit, Madlib and Karriem Riggins (march 1)

I Got Heaven - Mannequin Pussy (march 1)

Playing Favorites - Sheer Mag (march 1)

Where's My Utopia - Yard Act (march 1)

Apocalypse - Thundercat (march 1)

Tyla - Tyla (march 1)

Electric Blue Light - Lenny Kravitz (march 1)

Bleachers - Bleachers (march 8)

Letter to Yu - Bolis Pupul (march 8)

Glasgow Eyes - The Jesus and Mary Chain (march 8)

All Quiet on the Eastern Esplanade - The Libertines (march 8)

Invincible Shielf - Judas Priest (march 8)

A Forsaken Lover's Plea - Chuck Strangers (march 15)

Real Power - Gossip (march 22)

Live Laugh Love - Chastity Belt (march 29)

Evolution - Sheryl Crow (march 29)

Heaven :x: Hell - Sum 41 (march 29)

sources:

pitchfork

bandcamp

[thefinn-ternet]

Day: November 11th

#RemembranceDay

#Finn365

@CrowdedHouseHQ

Written by Crowded House from the Intriguer era produced by Nick Launay

Two Minutes Of Silence

About Two Minutes Of Silence — Neil Finn website

#finn365 #youtube #crowded house #remembrance #2 minutes silence

[vmonteiro23a]

SONGS TO REMEMBER: Birthday Party - "Release The Bats"

SONGS TO REMEMBER: Birthday Party – “Release The Bats”

SONGS TO REMEMBER: Birthday Party – “Release The Bats” “PRODUCED BY THE BIRTHDAY PARTY AND NICK LAUNAY/WRITTEN BY MICK HARVEY AND NICK CAVE 4AD/AUGUST 1981 DID NOT CHART Australia’s The Birthday Party were the most intense rock ‘n’roll proposition of the time. A bunch of wasted and malevolent-looking cowboy junkies led by a back-combed streak of piss called Nick Cave, they sounded like the…

View On WordPress

[lyrics2world]

The Girls Are Fighting Lyrics - Bloc Party

The Girls Are Fighting Lyrics – Bloc Party

The Girls Are Fighting Lyrics from Alpha Games is the latest esnglish song lyrics written by Justin Harris, Kele, Louise Bartle, Russell Lissack and produced by Adam “Atom” Greenspan, Nick Launay. The Girls Are Fighting Song Details Song: The Girls Are Fighting Album: Alpha Games Singer: Bloc Party Written: Justin Harris, Kele, Louise Bartle, Russell Lissack Producer: Adam “Atom” Greenspan,…

View On WordPress

#Alpha Games #Bloc Party

[gazeta24br]

No mês passado, a última temporada de Peaky Blinders chegou à sua conclusão. A vencedora do prêmio BRIT e nomidada trêz vezes ao Mercury Music Prize Anna Calvi escreveu e interpretou a composição para a 6ª temporada, sua voz e seu violão tem sido a trilha sonora do tormento de Tommy Shelby. O novo EP Tommy de Anna Calvi está disponível com quatro excelentes canções escritas especificamente para o espetáculo. Tendo previamente compartilhado "Ain't No Grave", o resto do EP inclui uma capa de "Red Right Hand" - a canção temática de Peaky Blinders de Nick Cave & The Bad Seeds, um cover de Bob Dylan "All The Tired Horses" assim como uma canção original de Calvi, "Burning Down". Todas as canções apresentam a marca registrada de Calvi e te puxa de volta para o universo da série. Um vinil exclusivo limitado de 12" de Tommy também está previsto para lançamento em 21 de outubro. OUÇA TOMMY AQUI. Anna Calvi escreveu e realizou anteriormente a trilha da temporada 5 de Peaky Blinders e foi trazida novamente para a última temporada da série. Pouco depois de Calvi começar a trabalhar na 6ª temporada, ela ficou grávida de seu primeiro filho. Com a pandemia no seu auge, ela teve que inventar uma nova maneira de gravar com outros músicos sob rigorosas restrições em Londres. Calvi também decidiu trazer a colaboradora frequente Nick Launay - produtora de seu terceiro álbum de estúdio Hunter, assim como álbuns de Nick Cave e os Bad Seeds, Yeah Yeah Yeah Yeahs, Grinderman e IDLES - para trabalhar com ela. Anna continuou trabalhando até a noite anterior ao nascimento de seu filho Elio em novembro de 2021, antes de voltar rapidamente ao trabalho e correr para terminar a trilha da temporada, enquanto o primeiro episódio da série era transmitido durante os estágios iniciais da maternidade e adaptação à sua nova vida. Ao lado de sua composição original "Drive" para o filme premiado da diretora Joanna Hogg, The Souvenir Part 2, a conclusão da trilha de Peaky Blinders marca uma tremenda conquista para Anna e mostra uma compositora e artista ainda desbloqueando e revelando todas as suas capacidades. DATAS DA TURNÊ 11 de Junho – Syd for Solen, Copenhagen 12 de Junho– Tempelhof Airport, Berlin 22 de Julho – Tuaron Nowa Festival, Katowice 12 de Agosto – Haldern Pop, Germany 14 de Agosto – Hear! Hear!, Belgium 26 de Agosto – Victorious Festival, Portsmouth 28 de Agosto - All Points East, London 24 de Setembro – Reeperbahn Festival, Germany

[nofatclips]

Grounds by IDLES (featuring Warren Ellis) from the album Ultra Mono - Directed by Rob French

#music #idles #colin webster #warren ellis #mark bowen #adam greenspan #nick launay #kenny beats #kenneth blume iii #adam devonshire #jon beavis #lee kiernan #joe talbot #bernie grundman #video #music video #rob french #jonesmillbank

[mitjalovse]

The Now Now presents one of the albums which concluded the previous decade for their musicians. Of course, many of them keep their relevance for the modern societal landscape, since we're still the part of the era that occur after the latter part of the period. Hunter by Anna Calvi, for instance, feels like a recent disc, since she deals with the themes of gender, which continue to get discussed in the contemporary society. However, she talks about them in an evolution of her previous idiom. One could claim that the reckless persona she merely hinted at during her previous LPs finally becomes displayed. While her mastery was never disputed, Hunter does present another facet of her, which makes her even more intriguing.

#anna calvi #hunter #chain #mally harpaz #alex thomas #adrian utley #martyn casey #ming vauze #gillian rivers #fiona brice #ellie stanford #rachel robson #vicky matthews #nick launay #10's music #art rock

[pear-pies]

Guitar Part - March 1997

okayish translation under the cut

A FURTHER OCEAN

 From now on, we won't have to talk anymore of their age, but of their maturity.

the occasion of the release of "Freak Show", Daniel Johns, guitarist and singer of .i. Silverchair, explains how fran- chir the course of the "second album". For this new opus, you collaborated with Nick Launay, Pixies and PIL producer. Why did you turn to him? Daniel Johns: We chose him because he has already worked with us in the past. We recorded with him pieces that date from a very long time ago for the Soundtrack of a movie; so we absolutely wanted to have it with us for this album. And it went very well since he was very open to all our suggestions managements. So we were very involved in this album. "Freak Show" is much more melodic than the previous album. Is it due to the paw of Nick? Daniel Johns: No, Nick has absolutely not all- ché to compos. We just introduced him our work and it seems he enjoyed it. Of our side, we were also very open ... For the orchestration, for example, which has nothing to see with the previous opus? ... Daniel Johns: Yes, you think about Oil & Chlorine, I suppose. Indeed, there, it is Nick who had the idea of ​​these arrangements. With violin and sitar sounds ... Daniel Johns: Yeah, actually the arrangements for strings on this piece correspond to a part of guitar that I had composed myself. And Nick has refined it all.

Then in Cemetery, a girl took care of the string arrangements in New York; she is very famous for his very dark string arrangements. Would you talk about pop song for Cemetery?

Daniel Johns: No, it's more than that. There is indeed a fairly harmonious darkness which emerges from this song. But I won't go so far call it a pop song. There is also a very fast punk song. It is Nick Launay? Daniel Johns: No, all the tracks on the album are ideas to us. When we played it to Nick, he did his job, saying, "Yeah, that was cool, but we could do that ”, etc. In fact, we wanted to absolutely do a punk song, because not badly of our friends are interested in this               kind. Besides, a lot of our               fans are very punks.               Regarding the choice of               single, Freak Show, it's your               idea?               Daniel Johns Yes, we made up our minds               on this track because he really               ment a powerful intro. I believe in

more than this title gives a good               idea about the rest of the album, namely               that it is rich enough, varied enough. Do you see yourself as a group eg independent? Daniel Johns: No, frankly, I don't think any group cannot claim to be an independent group before. Even if we do everything on our own, the record sound does a lot of things for us. Besides, we do not pretend to become a independent band, we're just a rock band. What was your first guitar? Daniel Johns: My first guitar was a guitar tare at 90 dollars (540 francs) ... A RockAxe. Really pourave! What were you playing at the time? Daniel Johns: We mainly used the titles of the al- bum "Paranoid", from Black Sabbath and those from Led Zeppelin. The Rolling Stones and Deep Purple too. How did you learn the guitar? Do you followed the conventional route, namely the Classes  ? Daniel Johns: I started like everyone world, listening to the records of the groups I spoke to you; then I took classical lessons during for about a year. After that, I returned to discs.

Why  ? It was the discipline side that got you shit? Daniel Johns: Yeah, that really pissed me off. It brought me a lot, however. But it was missing really rock'n'roll. So I quit. What kind of material did you use for recording recording of the last album? Daniel Johns: Oh, a mountain of material. I have played on over twenty different guitars, from one title to another. A lot of old stuff like paired with more recent stuff. Your main guitars? ... Daniel Johns: The Paul Reed Smith and the Gibson SG. And the amps? ... Daniel Johns: I have an old Fender Tremolux amp that I used a lot on this album. And also Mesa / Boogie and Soldano. The effects ?... Daniel Johns: Again, there was a lot different effects and sounds on the album. I will have hard to quote them all to you ... You rather use multi-effects or com- pairings of pedals? Daniel Johns: No, I use multiple pedals. Actually, I'm not a huge fan of multi-effects racks, simply because I find it a bit confusing. I prefer to connect several pedals installed in front of me.

You continue your studies. Has your relationship with your friends changed? Daniel Johns: No, absolutely not. We have exactly the same friends as six years ago. However, when you see the landscape, you inevitably have a different vision of life ... Daniel Johns: That's right. The tour that followed the first album gave us a glimpse of new perspectives on a number of topics: but that didn't change anything in terms of personality. We still have the same passions and the same friends. We are just a little more skeptical on certain questions.

Can you give me an inventory of the Australian scene? Daniel Johns: The Australian scene is doing very well. There are lots of demonstrations, lots of good different groups. It is constantly moving! There is everything ... Hardcore techno, rap, pop, funk, punk, heavy; there is also a lot of industrial rock, indie rock ... How easy is it for an Australian band to find places to rehearse?

Daniel Johns: In Australia most bands rehearse in garages. It's quite difficult to be heard, to get rooms, etc. It often depends on the age of the groups. Under eighteen, you should not hope too much to spend in clubs and places of this kind. What was your last concert as a spectator? Daniel Johns: Korn, they're really good. We saw them in New Jersey. Is there a kind of music that disturbs you?

Daniel Johns: Not really. There are indeed genres that I appreciate more than others; but there is good in everything. All genres must also be represented, because that is the only way to make music evolve. Let's say I like almost everything, as long as it sounds fresh. What do you do, when you're not in the music?

Daniel Johns: I zone in my room, I watch TV with my dog, simple things like that. Do you think that Silverchair is promised a sustainable future or are there other prospects more or less emerging? Daniel Johns: I don't know. If so, we have it for a year or for twenty. Who can know? What is certain is that I will quit as soon as I get tired of show business and all the bullshit that entails.                                                                                 III Interview by Démian

#silverchair #daniel johns #the ocr reader hates this kinda format