Arctic Monkeys #76 - Zal 9-9-13 zonder full leak gehaald worden?

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Op dinsdag 30 juli 2013 09:30 schreef Xurk het volgende:
Ik open nooit topics, dus excuses als de TT lame is. Betere suggesties mogen het vervangen wat mij betreft, maar de laatste poster moet nou eenmaal openen

Mijn post in het vorige deel:

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Hier word ik vrolijk van!

Toch ga ik nog steeds niets luisteren totdat er een clip of official album release is

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Op dinsdag 30 juli 2013 09:30 schreef Xurk het volgende:
Ik open nooit topics, dus excuses als de TT lame is. Betere suggesties mogen het vervangen wat mij betreft, maar de laatste poster moet nou eenmaal openen

Mijn post in het vorige deel:

[..]

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Hier word ik vrolijk van!

Toch ga ik nog steeds niets luisteren totdat er een clip of official album release is

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Op dinsdag 30 juli 2013 12:13 schreef Aisumasen het volgende:
[ afbeelding ]

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Op dinsdag 30 juli 2013 12:19 schreef AMDB het volgende:

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Haha, al die statements die elkaar half tegenspreken

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Op dinsdag 30 juli 2013 12:20 schreef sander26 het volgende:
Wanneer kunnen we het lezen? I need scaaaaans!

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Alex Turner on new Arctic Monkeys album: 'It sounds like Dr Dre'
Frontman says he wanted the album to sound "less like four lads playing in a room"

Arctic Monkeys frontman Alex Turner has spoken about the rap and hip-hop influence on the band's new album 'AM'.

The band's fifth studio album will be released on September 9 and features the singles 'R U Mine?' and 'Do I Wanna Know?'. Guests on the album include Queens Of The Stone Age frontman Josh Homme and former member of The Coral, Bill Ryder-Jones.

Speaking in an exclusive interview in this week's NME, which is on newsstands tomorrow (August 1) or available digitally, Turner, when asked to describe what the new album sounds like, replied: "It sounds like a Dr Dre beat, but we've given it an Ike Turner bowl-cut and sent it galloping across the desert on a Stratocaster."

When asked how the band have managed to fuse hip-hop and rock successfully, Turner said his vision for the new album was to make it "sound less like four lads playing in a room this time". He added: "Essentially, that's what it is, but if you can find a way to manipulate the instruments or the sounds to the point where it sounds a bit like a hip-hop beat that'd be boss in your car, then I think there's something quite cool about that."

http://www.nme.com/news/arctic-monkeys/71734

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The band’s initials, a new morning, an analogue radio frequency and an existential statement - the title of Arctic Monkeys’ fifth album AM suggests all of those things and more. And the record itself lives up to this pithily resonant billing by being, in drummer Matt Helders’ typically forthright estimation, “the album we’ve always been waiting to make”.

It starts with a sumptuously squelchy synthetic-sounding beat. This turns out to have been built out of all too human body parts, as all four Arctic Monkeys got together to contribute foot-stamps and knee-slaps - “which might make people think of Lederhosen,” admits frontman Alex Turner, “but really it’s the antithesis of that... and there was no bunting either.”

So AM’‘s opening moments eschew the queasy camaraderie of the ersatz hoedown in favour of a tautly compressed human pulse? “We wanted to come up with a different sort of clap”, Turner explains, “and the way Tchad Blake mixed it makes it sound like someone banging their head against a sci-fi force-field”.

“I like the way it feels dead wooden”, chimes in Matt Helders, in the unabashedly earth-bound spirit of drummers from time immemorial. And this exuberant collective attention to aural detail carries through each of AM’s 12 songs. Whether it’s the En Vogue-worthy backing vocals of “One For The Road”, the crunching Black Sabbath drum-lurch of “Arabella” or the maudlin pedal-steel of “No 1 Party Anthem”, ear-catching particulars never stand out for their own sake but constantly add to the greater glory of the whole.

And since meticulous sonics are no use without tunes, AM has those in clubs. From the lilting space age come-on of “Do I Wanna Know?” to the heady swoon of “Mad Sounds” to “Snap Out Of It”’s blatantly irresistible chorus, this is an album to sing along with even as you’re wondering if the lyrics can really be as good as they sound, before finding out on next hearing that they’re actually even better than your first thought.

Alex Turner’s reputation as a phrase-maker has been assured since the headlong rush of Arctic Monkeys’ early singles drove them to the fastest selling debut album of any British band in history. Still very much present and correct five albums in are the chewy verbal gobbets - “summat in your teeth”, “simmer down and pucker up” - which continue to release their flavour through multiple mastications. Ditto Turner’s way with a killer two-liner ( “Been wondering if your heart’s still open/And if so I wanna know what time it shuts” and “That place on memory lane you liked looks the same/But something about it’s changed” being two especially fine examples).

But what marks AM out as a real step forward in Alex Turner’s songwriting is the languid elegance with which these lyrics unfurl - easing seamlessly from verse into chorus and back again with the insidious logic of Jay-Z’s finest flows. Internal rhymes and alliteration abound, their effect intensified by Turner’s insinuating crooner’s delivery. He lingers tenderly over lines like “RU Mine?”’s “She’s a silver lining lone ranger riding through an open space in my mind” as if making them scan was the easiest and most natural thing in the world.

“There was a lot of sitting up on my own all night long battling with the puzzle this time - probably more than before”, Turner admits. “I had a dartboard in the back garden and I’d throw arrows as I’d sit there trying to write. There was definitely some symmetry in how the words were going and where the darts would land - a fair amount of missing the board altogether brought me the occasional treble twenty”.

Recorded in a small East Hollywood studio with long term collaborator James Ford riding the faders, the third album Arctic Monkeys have made in their adopted home of LA takes the best elements of its two predecessors and gives them an entirely fresh twist. In terms of AM’s overall sound, it would be stretching a point a little to call it Arctic Monkeys’ G-Funk album, but there’s definitely the odd echo of Warren G’s “Regulate” in the air.

“If someone asks ‘Is this the West Coast record?’ the question would normally have a different connotation, but that’s what it means to us,” Turner agrees. But anyone hoping to see Matt Helders throwing gang signs from behind his kit is going to be disappointed. The malt liquour of Death Row records is chased down by at the very least a Bacardi Breezer of what the drummer calls “Girlfriend music - the music our girlfriends were listening to at school when we were into Dr Dre”.

“With people like Aaliyah,” Turner explains, “what’s sometimes seen as being cheesy is actually a real coolness about the melodies, and we wanted to get a bit of the way that music moves into what we were doing. That also went hand in hand - in our minds at least - with Seventies rock ‘n’ roll: all those bands like Black Sabbath and the Groundhogs that we listen to very loud in the dressing room when we’re on tour... We call them ‘thin drum-stand bands’, because whatever the drums are standing on sounds like it’s a bit wobbly, but that’s part of what’s so great about them”.

Arctic Monkeys were fully aware of the dangers inherent in putting these ingredients together - “It’s total chemical reaction time”, Turner admits. “You take too much from one world and you don’t get the right colour smoke”. But from the minute “R U Mine” started to define itself as the signpost for the new direction, they knew they were on the the right track.

“When we got to the breakdown and it dropped to them two [Helders and bassist Nick O’Malley] doing the backing vocals together, we all liked it so much, we just thought ‘Let’s make a record that surrounds that’”, Turner explains. “From then on I’d sing the part and they’d kind of wrap their voices around it”. Were they doing that thing with their hands when they went for the high notes? “It’s all in the hands, but it helps if you wiggle your head around a bit too”. Technology also played its part, but not the state-of-the-art kind. “Even before the band I used to mess around on an old four-track cassette recorder that belonged to my dad”, Turner remembers. “Then I got given one for my birthday last year, and we really liked the way it sounded. So we worked on it for three weeks straight till we wore out the mechanism. I definitely believe in songs existing inside bits of equipment and you just have to let them out - there’s a few riffs we owe that machine. There weren’t that much head room in it, and if we cranked up the gain and got Matt to play really soft, it sounded just like a sample. The snare we got that way became the DNA of the whole record”.

One of the main themes of AM seems to be going back to things that have fallen into disuse and finding how fresh they can be, whether that be an antique tape-recorder, or “I Wanna Be Yours”, the vintage John Cooper-Clarke poem they turn into a lights-down school disco slow jam on the album’s closing number. Those who’ve seen Arctic Monkeys play live over the past year - from the opening ceremony of the 2012 Olympics to the main stage at Glastonbury on a Friday - have already seen (and heard) the benefits of this newly open-minded approach.

“There was a time I couldn’t bring myself to play ‘Fake Tales of San Francisco’”, Turner admits, “but we can strike up a pretty good cover of it now. There’s an excitement about this new album that makes it much easier for us to do the old ones justice. You get to a point where you’ve been round the block enough times to know that it’s kind of alright, and it’s not all meant to be about you anyway”.

Arctic Monkeys might be the first band in rock history to go to LA and find out that it’s not all about them. Anyone who thinks that sounds a bit grown-up will probably be reassured by the last thing they really liked about the AM soundwave which adorns the cover of the album. Alex Turner laughs: “It kind of looks like a bra”.

Ben Thompson, July 2013

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“I had a dartboard in the back garden and I’d throw arrows as I’d sit there trying to write. There was definitely some symmetry in how the words were going and where the darts would land - a fair amount of missing the board altogether brought me the occasional treble twenty”.

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Op dinsdag 30 juli 2013 16:27 schreef Aisumasen het volgende:
“You take too much from one world and you don’t get the right colour smoke”. But from the minute “R U Mine” started to define itself as the signpost for the new direction, they knew they were on the the right track.

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Op dinsdag 30 juli 2013 17:53 schreef hallo-daar het volgende:
Rap-rock dus.. Arctic monkeys meets Limp Bizkit, zijn we allen vast laaiend enthousiast over .

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Op dinsdag 30 juli 2013 18:03 schreef sander26 het volgende:

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Deze band weet precies hoe ze moeten doseren. Ik heb er alle vertrouwen in.
Overigens is Limp Bizkit écht precies het tegenovergestelde. Lame-ass rockmuziek met een honkey die niet kan rappen.
Dit album neemt, als ik het goed lees, juist veel meer van de laidback westcoast Dr. Dre, Snoop Dogg & Warren G sound en verpakt het in de loomheid van Humbug en de luchtigheid van Suck It And See.

Eigenlijk redelijk bizar dat we het hier gewoon over hiphop hebben op een Arctic Monkeys album en ik er totaal niet over geshockeerd ben. The Jewellers Hands heeft de weg wat dat betreft al behoorlijk geplaveid voor deze nieuwe richting.

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Op dinsdag 30 juli 2013 18:03 schreef sander26 het volgende:

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Deze band weet precies hoe ze moeten doseren. Ik heb er alle vertrouwen in.
Overigens is Limp Bizkit écht precies het tegenovergestelde. Lame-ass rockmuziek met een honkey die niet kan rappen.
Dit album neemt, als ik het goed lees, juist veel meer van de laidback westcoast Dr. Dre, Snoop Dogg & Warren G sound en verpakt het in de loomheid van Humbug en de luchtigheid van Suck It And See.

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Op dinsdag 30 juli 2013 18:23 schreef hallo-daar het volgende:

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Doet me trouwens aan het volgende denken: was het de keuze van Arctic Monkeys zelf om Illmatic 20 x achter elkaar te af te spelen op Best Kept Secret? Ik meen hier ooit gelezen te hebben dat AM altijd zelf de muziek uitkiest bij op- en afbouwen. Ook bij festivals? Aisumasen, jij weet dit vast wel.

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Op dinsdag 30 juli 2013 19:21 schreef Aisumasen het volgende:
Hm, hier had moeten staan dat dit het volledige artikel is, maar het is nóg een preview: http://issuu.com/nmemagaz(...)/2?e=5942028/4230254

Wel spannend zo.

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Op dinsdag 30 juli 2013 20:47 schreef Vatta het volgende:
Rap-Rock en AM is niet geheel nieuw. Kennen we deze nog:

Arctic Monkeys - Temptation Greets You Like You Naughty....

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Op woensdag 31 juli 2013 01:55 schreef Aisumasen het volgende:
'AM' duurt 42 minuten, wat het de langste plaat van ze tot nu toe maakt (scheelt geloof ik paar seconden met het debuut). Kortste nummer is 'High' met bijna 3 minuten, langste nummer is 'Do I Wanna Know?' met 4,5 minuut.

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"You get to a point where you’ve been round the block enough times to know that it’s kind of alright, and it’s not all meant to be about you anyway"

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Op woensdag 31 juli 2013 15:15 schreef febster het volgende:
Ik twitterde 36 dagen geleden: 'En er staat een nummer op AM van de Monkeys getiteld 'No1 Party Anthem'. Zal dus vast wel een ballad zijn, Turner kennende.'

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Toegegeven: zoveel hoop hadden we niet meer gevestigd op Arctic Monkeys na laatste album Suck It and See uit 2011. Maar eerste songs Do I Wanna Know en Mad Sounds van volgend album AM deed alvast gunstig stemmen, een ijzersterke show op Best Kept Secret deed ons 'game, set and match' roepen en ook het volgende Why'd You Only Call Me When You're High? dat nu online verschijnt mag er weer zijn: catchy as hell, met licht soulvolle zang en uitstekende dynamiek tussen het relatief kale coupletje en het uitbundiger gearrangeerde refrein.

SPOILER: nog een

Om spoilers te kunnen lezen moet je zijn ingelogd. Je moet je daarvoor eerst gratis Registreren. Ook kun je spoilers niet lezen als je een ban hebt.

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The full story of Arctic Monkeys new album 'AM' - and this week's NME cover

It started for NME (and me) at Glastonbury a few weeks ago, where I spent a day shadowing and interviewing Arctic Monkeys as they prepared to headline Worthy Farm.

What I think is particularly brilliant about this band - from a journo's point of view, you understand - is the level of access they allow people like me. As a group they seem keen to tell their story in the best possible way, which they know isn't by ramming it down people's throats and doing hundreds of soundbite interviews over a few days in some faceless hotel. This is undeniably great and undoubtedly rare in 2013. Long gone are the days where a journo gets to spend weeks on end on the road with a huge band, sadly.

But crucially, what Arctic Monkeys and the team of people around them seem to really understand, is that in order to get the best from these kind of situations it really is worthwhile letting people into their inner circle. Which is, I think I'm right in saying, exactly what they've done with NME this time around.

From sitting in Domino Records' HQ with label head Laurence Bell playing me the album just before Glastonbury (the excitement on his face was infectious), to speaking to the band mere seconds before and after that great Worthy Farm set (nerves? They were palpable beforehand to the point where I even started to feel my stomach churn for them), they really have tried to take us – and hopefully you, readers – every step of the way.

So, the new album then. We chatted for a good couple of hours about it on the day of Glasto. By this point I'd only heard it once – with Lawrence – where I'd frantically written loads of notes down on the back of an envelope. At one point in our Glasto chats Alex whipped his phone out as he'd written his own notes on that, which was quite funny. I'm always sceptical about judging albums after one listen, but it's often the name of the game in this business, and in any case I must have heard 'AM' about 50 times since then. And I really, really do think it's something very special indeed.

It bugs me that fans still have to wait so long to hear it though – senseless bragging about being first on something is never nice – so I thought it might be cool to do a blog listing all the influences I can hear on the album, in order to give you an idea of what to expect from it. It's compiled from stuff the band told me in the interviews, to lyrics (loads of Alex's lines namecheck other songs), to songs I reckon they were listening to a lot when making it in sunny Los Angeles; a place that looms very, very large over the record indeed...

Some notes about those songs:

Amazing riffs are all over AM, with the electric-shock bit (52 seconds in) of Sabbath's 'War Pigs' nabbed wholesale on 'Arabella', which is my favourite song on the record. Funnily enough, Captain Beyond also used the same riff on 'Raging River Of Fear' too. Wonder if the Monkeys were listening? That band were kind of like a 70s version of Monkeys, in a way – a Brit band who ensconced themselves in LA for a few years and totally absorbed the culture there.

'2000 Light Years From Home' makes the cut not because of the sound of any AM tracks, but a lyric on the album. "Ain't it just like you to kiss me and then hit the road / leave me listening to the Stones / 2000 Light Years From Home" sings Alex on the brilliant, T-Rex infused 'I Want It All'. It's a proper moment.

Babe Ruth are probably the most unfashionable band I could possibly reference here – proper prog dinosaurs – but the bass in 'The Mexican' sounds uncannily like Nick's work on 'Fireside'.

The two Lou Reed tracks are included because of 'Mad Sounds'. It's one of the best things Arctic Monkeys have ever done, in my opinion, and perfectly encapsulates the woozy, fucked up atmosphere of '…Wild Side' and 'Pale Blue Eyes'. Side note: Alex told me he wanted the record to have a dirty feeling overall, like Lou Reed's 'Transformer'.

As for the rap stuff – it's more about the rhythms than anything. The new album isn't G-funk. Or full of keyboards Or rapping. But the drums and bass are massively, massively influenced from the stuff Dre, Outkast et al were doing at the turn of the century.

Ditto Aaliyah, but for the backing vocals rather than rhythms. You could add Destiny's Child, En Vogue and, fuck, maybe even Haim to that list too (co-producer James Ford was working on their record at the same time as he was AM). The vocal influence of tracks like 'Try Again' is all over the place. "Ex-girlfriend music," is how the band describe it.

And there's John Cooper Clarke, of course (pictured below). Alex cribs his poem for album closer 'I Wanna Be Yours', but it sounds nothing like the JCC's track in the playlist. Instead it's a sad, yearning lament that's stuffed full of lust. Bit of a tearjerker, all things told. It's the first time the band have ever used a drum machine too.

Some other tracks that could have made the playlist but either weren't on Spotify or made the whole thing sound a bit disjointed:

Ike Turner and The Family Vibes – Jumpin'. Alex was keen to talk about Ike during our chat, saying that brilliant quote about how the album sounds like a Dre beat, with an Ike haircut, galloping across the desert on a Strat guitar. I can't hear a huge amount of obvious Ike/Tina influences in the album, personally, but it's there in spirit for sure. I guess there are elements that sound like it too - like this track from Ike's much-ignored early 70s side project The Family Vibes. It's funk-rock-blues, which kind of sums 'AM' up too.

John Lennon – 'Nobody Loves You (When You're Down And Out)'. This just must have been an inspiration for 'No.1 Party Anthem'. Both tracks share than James Bond style cabaret mentality – piano-led, glitzy but with totally cool, sharp lyrics. I think this one is about a strip bar in LA all the Brit bands go to while they're there. But what do I know?

Dusty Springfield – 'The Look Of Love'. Mentioned by Alex in the lyrics to 'No.1 Party Anthem', alongside...

…Madness – 'House Of Fun'. And "A Rush Of Blood" (by Coldplay) too.

Marvin Gaye – 'Sexual Healing'. The backing vocals on 'I Want It All' echo the "get up, get up" bits from 'Sexual Healing'. Surely a knowing nod to the soul king.

Bob Crewe and Charles Fox – 'Smoke (Viper Vapor)'. This tune is from the Barbarella soundtrack, a film that's referenced outright in 'Arabella', right down to the central character's "silver swimsuit".

Speaking of films, here's some other stuff you might wanna watch to get in the mood: Mean Streets (mentioned in the lyrics to 'Knee Socks'), Louis CK's 'Hilarious' (the band are well into their comedy) and, well, anything directed by Fellini. Asked where the album would be set if it was a film, Alex said he'd want it to "seem like a Fellini dream sequence". Sounds alright to me.

http://www.nme.com/blogs/(...)this-weeks-nme-cover

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Arctic Monkeys co-producer James Ford on new album 'AM'

Aside from being one half of Simian Mobile Disco, James Ford is the guy you could – alongside Miles Kane, I guess – most realistically call the 'Fifth Arctic Monkey' on account of his studio work with the band since 2006 (not to mention The Last Shadow Puppets and Alex Turner's 'Submarine' soundtrack). Alongside Ross Orton, James co-produced the Monkeys new album 'AM' at LA's Sage & Sound Studios, something I spoke to him about for this week's magazine cover feature. He had so much great stuff to say though, and I just couldn't let the stuff we couldn't fit in the mag go to waste. So here's the full Q&A, in all its glory…

NME: Can you tell me about the very start of the 'AM' sessions. What was the first conversation you and the band had?

James Ford: When they first came to me they were like, 'We're thinking of recording it in our rehearsal room', and I thought, 'Er…alright'. I went along to Sage & Sound, which is on not a very glamorous street in Hollywood – there's pretty much a building site right outside – and I went in and was pleasantly surprised, because in terms of recording it's a really nice room. It sounds really good. It's all wooden with these slightly strange faux Greek pillars and architecture. They had been camped up in there for months, even before I'd arrived, and they'd been doing loads of demos on these pretty shitty '70s four-tracks. I know they were getting really into the four-tracks, which played quite a big part of it. We ended up using a fair bit of them on the record – bits that were usable like interesting vocals. We tried to incorporate that as much as we could. I always love that, because the first time you record something, or the first time you have an idea, sometimes there's a magic in it that it's hard to re-create. So I'm all up for using as much of that as possible. I think it really influenced the way that they put the songs together.

Alex Turner said having that studio as a band HQ was key – the first time they've been in that position since making the debut album.

I think it was really important. That studio was so important to them - to have their own space to experiment and fuck around in was just great. The general routine we tried to stick to was 11am to 8pm, or something like that. But it really depended on what was going on at the time. When we've recorded stuff in the past we'd go somewhere like a residential place, and it was all about recording and that's it. But because they all live in LA, someone would run off and pick up the dry cleaning one morning or whatever. It was actually quite laid back, which was nice. We'd go and hang out in the evenings. It wasn't a very stressful recording situation - it was quite day-to-day.

On the other hand, the band told us they never wanted to see the studio again by the end of it. Cabin fever?!

Hah! They spent so much time there. The amount of time I spent there was just putting the album together in the later stages. I popped in a few times early on to hear what was going on but they were in there for months before that, rehearsing and writing, fucking around on the four-tracks. So I'm not surprised they were glad to see the back of it! I know I was, and I was only there for about a third of the amount of time they were.

How long were you there in total?

I dunno. On and off probably about a month, or something like that. They spent a fair amount of time writing, but I don't think it was as intensive as it is when you go away to a studio. I think they were doing bits here and there. They were definitely preparing it for quite a while.

Did you have a brief before you started?

There was no brief other than to make an interesting album. Obviously I'd seen the songs as they were demos, and I think that around the time of 'R U Mine?' they struck upon this riffy, slow and heavy thing. But then with this slightly strange hip-hop, slightly R&B sense to some of the melodies and structures. There was a bit of that in there. Really, they just wanted to push it on and do something different, and keep moving forward. My job is to really to try and help bring their ideas out and distil and crystallise what they want it to be, and help them achieve that. There's a Sabbath-y thing in there too, but obviously it's all filtered through Alex's songwriting and the band's playing.

The backing vocals might shock some fans – they're overtly R&B in places.

There is quite a different take on the vocals. There's a lot of Alex in falsetto, of Alex singing in a really high register that he hasn’t really done before. Obviously Matt and Nick are both great singers as well, so Nick did a lot of really low Outkast-y, octave down vocals, while Matt did a lot of high, R Kelly-type stuff. We were interested in some of the vocal production ideas and, I think, the way that the good modern R&B records sound. They're often a very simple loop or beat, but a lot of the dynamics and the structure of the songs comes from the vocals and how they interact and build. That was definitely something they were interested in exploring. Often in the past it's been Alex's voice in the front, and obviously it’s still largely that, but we just found it interesting to play around with some of the other voices in the band.

What was your favourite moment recording the album?

It was actually when 'Do I Wanna Know?' came together, I just remember thinking, 'This sums up what we're trying to do'. It felt kind of heavy - and heavy in mood as well. It had a weight to it that I really like. I remember when that came together being really excited, and seeing the picture crystallise in front of me a little bit of where we going. It was one of the first ones we got done, and it was that thing of it coming together – I could see the end call from that point onwards.

That riff was written on Alex's 12-string Vox guitar, right?

Yeah. I remember when we bought it, I've got a picture of Alex playing it when we did the previous album ['Suck It And See']. He found it at the end of that record, and we never really used it on it. But I remember it quite distinctly, because it’s got these effects built into the guitar and I think he actually bought it as a bit of a joke. But I think it actually turned into a bit of an inspirational instrument! A lot of the riffs were written on that particular guitar.

The drum machine on 'I Wanna Be Yours' is a first for them too.

That's right, I think it is. That's the thing, on the last record we tried to do a 'band in a room' type thing, with barely any computers used. It was very much to tape. But this one was a case of 'all bets are off'. The band wanted to push things on and do something different. So to move it on and make it sound different we were very open to using bits of keyboards or drum machines, or whatever worked for the song really. Obviously it still has to link into them and feel like them, but…

…It's not like they've gone dance?

Yeah! It was probably the same one Suicide would have used. It’s not like they've gone electropop on us! It's not an 808 or anything! It's from that kind of era when drum machines were invented as an accompaniment to keyboards. Like the kind of thing old people playing in bars use. They've been used in rock bands for a long time – I think as long as you do it in the right way, it's great.

Alex's vocals on the fast bit of 'Arabella' sound different to his normal style…

I think it's doubled at that point. I don’t know if we've really done that before. He sings it really loud, but there's two of him. It kind of seemed like a good idea - in an Ozzy way.

You've been producing the band for years now, and they told me they couldn’t foresee a time when they weren’t working with you. How does that feel?

I dunno. It's quite weird, because it's gone past the point of me feeling that I'm working with them. It's like we're friends and we can hang out, and making music is something we do for fun or something. A bit like I do with Jas [Shaw, James' Simian Mobile Disco bandmate]. It's something I would do for a laugh! So, I dunno. I think they probably should work with other people and get other influences in there – I think that's really healthy. I'm always willing and eager for other people to get involved. But if they ever ask me, I'd always do it because they're such amazing people to work with, and I consider them good friends.

http://www.nme.com/blogs/(...)ford-on-new-album-am

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Op zaterdag 3 augustus 2013 19:16 schreef Aisumasen het volgende:
We weten nu dat de nieuwe track per abuis 2 weken van tevoren is verschenen.

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Op zaterdag 3 augustus 2013 19:35 schreef AMDB het volgende:

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Ook fysieke release al dan?

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Op zaterdag 3 augustus 2013 19:49 schreef Aisumasen het volgende:

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Nee joh, 'Do I Wanna Know?' is amper 2 weken uit. Al ging dat ook op een verrassende manier, dus wie weet. Vrees dat 'Stop The World' tegen die tijd de B-kant is...

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Op zaterdag 3 augustus 2013 20:19 schreef MilanILF het volgende:

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Stop the world?

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Op zaterdag 3 augustus 2013 20:27 schreef Pannenkoek3000 het volgende:
Klinkt als een typische naam voor een Oasis-nummer

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Op zaterdag 3 augustus 2013 20:29 schreef Pannenkoek3000 het volgende:
Kan de OP trouwens niet eens geupdate worden, of in iedergeval de albums/singles in een spoiler tag gegooid worden. Ik scroll me telkens suf