MUZ Muziek
Het forum voor 's werelds enige universele hobby! Snaren of toetsen, vinyl of cd, eendagsvlieg of rasartiest, op de radio of op een festival! Hier kun je al je ongebreideld enthousiasme, maar ook je weldoordachte kritische noten kwijt over muziek
Er zijn tegenwoordig weinig verschillende interpretaties mogelijk van Alex' teksten he 
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2000 light years from home
Ik vraag me wel vaak af in hoeverre ze nou autobiografisch zijn. Als ik een vrouw was, zou ik redelijk in de war zijn wanneer ik werd opgehemeld ("Arabella") door een vent die verlangt naar één of andere ex-vriendin ("Do I Wanna Know", "Fireside").quote:Op vrijdag 6 december 2013 00:37 schreef Merkie het volgende:
Er zijn tegenwoordig weinig verschillende interpretaties mogelijk van Alex' teksten he
'Fireside' lijkt me redelijk dicht bij huis aan te kloppen, 'Arabella' is natuurlijk niet te missen en zelfs al min of meer toegegeven, maar vele andere dingen beschouw ik wel als vrijheid van de kunstenaar.quote:Op vrijdag 6 december 2013 01:06 schreef hallo-daar het volgende:
[..]
Ik vraag me wel vaak af in hoeverre ze nou autobiografisch zijn. Als ik een vrouw was, zou ik redelijk in de war zijn wanneer ik werd opgehemeld ("Arabella") door een vent die verlangt naar één of andere ex-vriendin ("Do I Wanna Know", "Fireside").
Van de week in een akoestische sessie in Vancouver met Helders en Turner: 'Reckless Serenade', 'Do I Wanna Know?', 'Piledriver Waltz', 'Snap Out Of It' en... 'No. 1 Party Anthem'. Geloof dat we de uitzending al gemist hebben, maar dat komt vast goed.
En al waren de staanplaatsen al binnen een uur na de start voorverkoop weg, nu is ook de rest van de Madison Square Garden, New York City, begin februari aanstaande, volledig uitverkocht.
En al waren de staanplaatsen al binnen een uur na de start voorverkoop weg, nu is ook de rest van de Madison Square Garden, New York City, begin februari aanstaande, volledig uitverkocht.
ik wil party anthem echt akoestisch horen wanneer staat het op youtube dan?quote:
Van de week in een akoestische sessie in Vancouver met Helders en Turner: 'Reckless Serenade', 'Do I Wanna Know?', 'Piledriver Waltz', 'Snap Out Of It' en... 'No. 1 Party Anthem'. Geloof dat we de uitzending al gemist hebben, maar dat komt vast goed.
En al waren de staanplaatsen al binnen een uur na de start voorverkoop weg, nu is ook de rest van de Madison Square Garden, New York City, begin februari aanstaande, volledig uitverkocht.
Geloof dat de sessie nog 'on demand' komt te staan, dus nog even geduld.quote:
[..]
ik wil party anthem echt akoestisch horen wanneer staat het op youtube dan?
Een begin is er, 'Party Anthem' wordt in het begin genoemdquote:
[..]
Geloof dat de sessie nog 'on demand' komt te staan, dus nog even geduld.
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Echt te gek hoe Helders ook deze track in dit arrangement toch weer naar een heel ander niveau tilt.
En de bekende 3, daarom niet minder goed.
|| FOK!Stok || tatatatatataatatatattaaaaapiediedieuwtididipieuwpidibididi She said I'll throw myself away pididididum They're just photos after all! || Den Helder || Winnaar VBL Wijndal-award 2020: beste AZ-user! || Mijn concertstatistieken ||
quote:
[..]
ik wil party anthem echt akoestisch horen wanneer staat het op youtube dan?
Daar is-ie dan. Ook:
Volledige sessie inclusief interview hier: http://www.cfox.com/2013/12/05/uninvited-guest-arctic-monkeys/
Goede timing voor de vrijdagnacht. Die timetables zijn echt bizar trouwens:quote:Op zaterdag 7 december 2013 00:48 schreef Dagoduck het volgende:
http://news.radio.com/show/live-105-not-so-silent-night-webcast/
Arctic Monkeys live om 3.45
In een andere stad zelfs Cage the fokking Elephant hoger en langer dan AM.quote:Kings of Leon: 10:30 – 11:15pm
Vampire Weekend: 9:45 – 10:30pm
Queens of the Stone Age: 9:10 – 9:45pm
AFI: 8:35 – 9:10pm
Arctic Monkeys: 8:00 – 8:35pm
Cage the Elephant: 7:30 – 8:00pm
Grouplove: 7:00 – 7:30pm
New Politics: 6:30 – 7:00pm
Foals: 6:00 – 6:30pm
Loooool, nou, 'Do I Wanna Know?' is alvast het terugkijken waard, wtf 
. "Should have beatboxed".
Ennnn 'Dancing Shoes' ook de vernieling in geholpen. Hilarische set. Dit gaat niet meer goed komen in dat half uurtje wat ze krijgen. Lichtshow op standje 'lokaal voorprogramma'. Wel hele strakke versie 'High', gaat live dan toch nog spetteren die track. Aankondiging 'Dancefloor' eentje om in te lijsten. De definitieve opname van deze era tot dusver .
Setlist tijdens deze mini-shows:
. "Should have beatboxed".Ennnn 'Dancing Shoes' ook de vernieling in geholpen
. Hilarische set. Dit gaat niet meer goed komen in dat half uurtje wat ze krijgen. Lichtshow op standje 'lokaal voorprogramma'. Wel hele strakke versie 'High', gaat live dan toch nog spetteren die track. Aankondiging 'Dancefloor' eentje om in te lijsten. De definitieve opname van deze era tot dusver .Setlist tijdens deze mini-shows:
quote:Do I Wanna Know?
Brianstorm
Dancing Shoes
Snap Out of It
Why'd You Only Call Me When You're High?
One for the Road
Arabella
I Bet You Look Good on the Dancefloor
R U Mine?
Aan die timetable zie je dus hoe populair ze daar geacht worden
|| FOK!Stok || tatatatatataatatatattaaaaapiediedieuwtididipieuwpidibididi She said I'll throw myself away pididididum They're just photos after all! || Den Helder || Winnaar VBL Wijndal-award 2020: beste AZ-user! || Mijn concertstatistieken ||
Ben niet zo kapot van "You're So Dark" trouwens. Leuke sfeer opzich wel, maar het nummer mist dat kleine beetje extra want een AM-nummer doorgaans interessant maakt. Vaak is het een bepaalde manier waarop zang, drums en gitaren samenkomen die net wat anders is als in de rest van het nummer. Dat heeft dit nummer niet.
2000 light years from home
War Pig snippet is ook wel nicequote:
|| FOK!Stok || tatatatatataatatatattaaaaapiediedieuwtididipieuwpidibididi She said I'll throw myself away pididididum They're just photos after all! || Den Helder || Winnaar VBL Wijndal-award 2020: beste AZ-user! || Mijn concertstatistieken ||
Ja, 'You're So Dark' is echt een toptrack! Beetje een 'Don't Forget Whose Legs You're On' maar dan in AM stijl. Zo herkenbaar met die combinatie van de bas en de drums.
Hahaha, die versie van 'Do I Wanna Know' Alex die op een gegeven moment geen enkele zin meer kan zingen zonder te lachen. En die versie van Dancing Shoes is ook echt vreselijk.
Ze hebben deze set in ieder geval eer aan gedaan!
Hahaha, die versie van 'Do I Wanna Know'
Alex die op een gegeven moment geen enkele zin meer kan zingen zonder te lachen. En die versie van Dancing Shoes is ook echt vreselijk.Ze hebben deze set in ieder geval eer aan gedaan!
Weetje van de dag: het intro van de eerste 'Scummy'-demo uit november 2004 is dezelfde opname als die gebruikt voor de definitieve album-versie, de nummer 1-hit uit 2006 onder de titel 'When The Sun Goes Down'.
Naja, zoals gezegd comfortabel MSG uitverkocht 2 maanden van tevoren, 'Do I Wanna Know? staat op dit moment op nummer #3 in de Billboard Alternative Charts in week 13, officieel hun grootste hit tot nu toe, da's niet niks. De Amerikaanse generieke rock of hippe acts zijn gewoon veel groter, maar ook die spelen hier maar 45 minuutjes.quote:Op zaterdag 7 december 2013 11:19 schreef Dagoduck het volgende:
Aan die timetable zie je dus hoe populair ze daar geacht worden
Een nieuwe dag, een nieuwe gestreamde show. De volle 34 minuten.
Geinige setting, showballet-opkomst, leuke visuals, en die kerstboom... De aankondiging voor 'Snap Out Of It' ("the real thing, the best band out") deed Rollling Stone hem uitroepen tot de meest arrogante frontman op het affiche, maar gelukkig maakte de show alles goed voor ze. Valt hier goed op dat de 'Arabella'-solo door twee man wordt gedaan. Stupid, slow, dirty PC...
En een interview:
En nog een stukje inhaalslag: Matt Helders' Arctic Monkeys drum setup in pictures
Onder andere over de album-sessies en zijn veranderde drumstijl: “I suppose it took me a while to get used to the idea that anybody can hit something hard. I used to think that was the coolest thing that I hit my drums as hard as I could, and I think that is a thing live - it looks good, or you just get into it and get carried away. But it doesn’t necessarily sound the best, it’s not the most impressive thing about drumming, and I probably thought it was for a while.
“So we had old marching snares and stuff that I couldn’t hit really hard. He said, ‘This is from the 1920s, please don’t play it like you normally would!’ Various different bigger bass drums, smaller bass drums. It was probably the most time we spent going through different tunings or changing the snare for each song, trying something different.”
Of een andere, amper een SoundOnSound-artikel met verdieping over de studio-sessies, maar deze komt aardig in de buurt:
"The room where it came together this time, I went back to messing around on this little four-track cassette recorder, and I just had the boys play a groove for five minutes, and I'd just sit there with me headphones on and write melodies and lyrics along to these endless hypnotic grooves. And the way that the shitty electronics in that machine colored that sound led me to a place that I wouldn't have gone just sitting on the couch with an acoustic guitar. So, yeah, we went about it a little bit different this time."
"A lot of the last record, I sat down and wrote the songs on the couch with an acoustic guitar, and we applied to the songs what was necessary. This time, it was more a guitar riff or a drum beat or a rhythm section groove, and then we'd jigsaw it all together. That's how we used to work years ago, like jigsawing it together. So it's not uncommon that the lyrics from one song might have originally existed in another song, and I just lifted them and put them in something else. Actually, I was looking through my old voice memos on me iPhone this morning, and I found a demo for "Do I Wanna Know?" that I've done, and it's got the lyrics from "No.1 Party Anthem" on it. I had forgotten about it, but that's something that I used to do quite a lot, and that seems to have happened again with this new record."
"['Do I Wanna Know?'] is almost kind of conversational more than melodic. It doesn't seem to follow a formula. You don't really know where the next line is going to move melodically, which is exciting for me."
Dat laatste kan ik me erg in vinden, en precies wat die track zo spannend maakt.
Onder andere over de album-sessies en zijn veranderde drumstijl: “I suppose it took me a while to get used to the idea that anybody can hit something hard. I used to think that was the coolest thing that I hit my drums as hard as I could, and I think that is a thing live - it looks good, or you just get into it and get carried away. But it doesn’t necessarily sound the best, it’s not the most impressive thing about drumming, and I probably thought it was for a while.
“So we had old marching snares and stuff that I couldn’t hit really hard. He said, ‘This is from the 1920s, please don’t play it like you normally would!’ Various different bigger bass drums, smaller bass drums. It was probably the most time we spent going through different tunings or changing the snare for each song, trying something different.”
Of een andere, amper een SoundOnSound-artikel met verdieping over de studio-sessies, maar deze komt aardig in de buurt:
Of deze met Turner, leuke details over de totstandkoming van de nieuwe tracks (http://www.undertheradarmag.com/news/arctic_monkeys1):quote:Arctic Monkeys: British post-punk indie rockers abandoned their trademark big, live sound for a more structured production on 'AM'
f you’re ever lost in New York City, Matt Helders is the guy you want at your side. The drummer for the Arctic Monkeys—the prolific, record-breaking, award winning, British post-punk indie rock group—doesn’t live in Manhattan. He has, however, been there enough times to be able to direct his driver: “If that was Avenue A, and this is B, then the next one will be C.” Helders is in town patiently promoting the Arctic Monkey’s fifth studio album, AM, with the understanding that the band’s change in musical direction, songwriting process, and recording practices are going to require explanation.
These changes can be traced back to a birthday present given to Arctic Monkeys vocalist/guitarist, Alex Turner: a cassette four-track. When starting to work out ideas for AM, the Arctics, who all are Los Angeles residents, set up camp at the city’s Sage & Sound Recording Studios—not so much for recording, but as a rehearsal space. For six months, the four of them, rounded out by guitarist Jamie Cook and bassist Nick O’Malley, were at the studio daily. Here, they experimented with small parts of the sounds, working out rhythm grooves, creating loops, and recording it all on the birthday present.
“We’ve never been a band that jams,” says Helders. That’s boring and sounds stupid after a bit. There’s usually quite a bit of structure to how we work. This time, because the rehearsal room was a recording studio, we thought we’d record ourselves. You can listen back straightaway and cut out a lot of time by recording, listening, and making a decision, whether it’s good to keep or not. Because the four-track has these crap-quality electronics, the tape has a nice, warm sound compared to anything digital.”
When it came time to formally record AM, the Arctics spiffed up the room in which they were working at Sage & Sound, brought in the informal fifth member of the group, Simian Mobile Disco’s James Ford, to produce (he also produced the group’s albums Favourite Worst Nightmare, Humbug, Suck It And See) alongside Add N To (X)/Fat Truckers’ Ross Orton (M.I.A.), and traded in the four-track mentality for über-modern recording techniques.
Some of the moments captured on four-track were retained while others were recreated. A number of ideas that remained weren’t fleshed out or demoed properly, so Ford built a version on his laptop using Ableton Live. This way, they could mess with the key or feel or structure of the demo, which was then used as a reference for the band’s performance.
“We’ve always gone for a big, live sound,” says Helders. “We wanted people to know that we sat there and played it, from start to finish. We would only record something if we could play it the next day. If we can’t do it live, why put it on a record? Now that we’ve gotten more comfortable and better at being a studio band, we relaxed that. We thought it more important to make a good sounding record than hold on to the idea that we should have to be able to play it live.”
Instead of all members playing at the same time and capturing that performance, which was their approach on the last album, Suck It And See, the focus was on honing individual tracks for AM. For example, Helders’ drum kit might have been set up unconventionally and played separately to glean a better sound, with overdubs on the bass, or redos on the snare, or layering of sounds.
“For some songs, like ‘Fireside,’ I did a straight beat with kick and snare for the groove, but then I overdubbed a tribal pattern on the kick drum, playing it with sticks, a weird set-up I had never done before,” says Helders. “On other songs, I would play kick drum for a take, then add the snare to try and get an isolated sound. I found the challenge of playing an effect on a drum kit interesting. I didn’t understand the appeal of trying to sound like a machine, like Questlove from The Roots, when I first started playing drums, but I get it a bit more now.”
“We had a decent selection of different drums: deeper snares or smaller hats that we would swap out for each track,” says Ford. “Most of the time, drums and bass were recorded together to get a good rhythm-section feel, with maybe a guide vocal. The bass was mainly recorded through a vintage Ampeg Portaflex amp. The guitars were tracked one by one by [Cook] and [Turner] in the control room with their Selmer Truvoice and Magnatone amps—plus a small pedal-steel amp that [Turner] bought during the session, which we nicknamed ‘The New Black’—in the living room.”
Vocals, backing vocals, percussion, and keyboard overdubs followed. Going for a smoother, more R&B style vocal with in-time delay rather than their standard distorted, shout-down-the-microphone style, the Arctics’ attitude toward this approach started out as jokes that ended up on the finished product.
“You have to be Mariah Carey for a minute, with one headphone on and plugging your ear with your finger,” says Helders. “We’re not trained vocalists by any means, so for us to achieve what we want to achieve, we spend loads of time with Pro Tools, comping more than ever before, getting certain words perfect, chopping up one specific sound because we did a particularly good one. We were under the microscope with everyone’s parts. You can’t get it nearly right, you’ve got to get it right, which is another challenge. It’s more detailed production, which was something we were worried about doing before, like it would be too glossy or shiny. It’s something we would have thought really cheesy if we had done it when we did the first record.” For all this, the vocal chain is standard—more often than not, a Neumann U67 through a Neve or BAE mic pre and a Universal Audio 1176 or Empirical Labs Distressor for control.
“There were definitely more vocal layers than normal, with important parts tracked in octaves,” says Ford. “[Turner] would take the lead and generally double his voice the octave up in falsetto. [Helders] would also track this octave up and do any high backing vocals and [O’Malley] would generally track the octave down with his nice, rich baritone.”
This type of detail is all over AM. They even threw in drum machines and synthesizers where needed, an unheard of practice for the Arctic Monkeys. “I Want To Be Yours,” which takes its lyrics from a James Cooper-Clarke poem that sparked Turner’s imagination when he was in high school, features an old drum machine; the song also went from a fast rock song to a slow jam after a pre-production session with Ford. “Do I Wanna Know” had Helders triggering a sample from a drum pad when the band performs the song live. This track also changed dramatically with Ford’s input, with an entirely new chorus sketched out on his laptop. “Mad Sounds,” on the other hand, kept some of the original 4-track recordings.
No object is safe from use on AM. When an EBow wasn’t handy, the Arctics grabbed a small Donald Duck plastic fan, turned it on, and rubbed the end of it on the guitar strings. The vibration came as close to the EBow as they wanted. These instances can be earmarked whenever the guitar sounds like it might be a keyboard. Also featured heavily on AM are claps. Helders tips, “Knee slaps sounds like two people clapping. It’s about getting a lot of people to clap just out of time with each other so it sounds like a slam.”
“We focused a lot on percussion, lots of claps, tambourines, and strangely-miked drum set-ups,” says Ford. “The percussion was generally recorded with a Coles 4038 ribbon microphone, but often there was a trash microphone in the room going through a cassette four-track or a Roland Space Echo through an amp or even through guitar pedals. Sometimes the simple backbone of a beat was done with a traditional drum set-up and overdubbed with a random set-up in the middle of the room, like [Helders] playing a bass drum with sticks and an old military snare. ‘Knee Socks’ is an example of this. O’Malley doubled his basslines with a baritone guitar.”
He continues, “We went to a great studio called Vox to do keyboard overdubs. They had lots of interesting things to play with like an Orchestron—a bit like a Mellotron that plays sounds from a record—and a great-sounding celesta. We also used a Hohner guitaret—a bit like an electric kalimba and quite tricky to play—to back up some of the guitar lines. The drum machines were also from this studio: Thomas Bandmaster and Selmer through a Fairchild spring reverb.”
“We got two electronic producers to make a rock record,” says Helders. “If we say to people: We’ve made an album that has backing vocals borrowed from R&B and West Coast hip-hop beats, but we’re a rock band, that sounds like it could be terrible. No one wants a rap-rock record. We had to be tasteful about it, choose the write parts, get Ford and Orton, put the two together, and find the right balance of different styles of music.”
http://www.emusician.com/artists/0767/arctic-monkeys/153030
"The room where it came together this time, I went back to messing around on this little four-track cassette recorder, and I just had the boys play a groove for five minutes, and I'd just sit there with me headphones on and write melodies and lyrics along to these endless hypnotic grooves. And the way that the shitty electronics in that machine colored that sound led me to a place that I wouldn't have gone just sitting on the couch with an acoustic guitar. So, yeah, we went about it a little bit different this time."
"A lot of the last record, I sat down and wrote the songs on the couch with an acoustic guitar, and we applied to the songs what was necessary. This time, it was more a guitar riff or a drum beat or a rhythm section groove, and then we'd jigsaw it all together. That's how we used to work years ago, like jigsawing it together. So it's not uncommon that the lyrics from one song might have originally existed in another song, and I just lifted them and put them in something else. Actually, I was looking through my old voice memos on me iPhone this morning, and I found a demo for "Do I Wanna Know?" that I've done, and it's got the lyrics from "No.1 Party Anthem" on it. I had forgotten about it, but that's something that I used to do quite a lot, and that seems to have happened again with this new record."
"['Do I Wanna Know?'] is almost kind of conversational more than melodic. It doesn't seem to follow a formula. You don't really know where the next line is going to move melodically, which is exciting for me."
Dat laatste kan ik me erg in vinden, en precies wat die track zo spannend maakt.
Geweldig, Alex die ondanks het lachen nog wel door weet te zingenquote:
Grappigquote:
"Actually, I was looking through my old voice memos on me iPhone this morning, and I found a demo for "Do I Wanna Know?" that I've done, and it's got the lyrics from "No.1 Party Anthem" on it. I had forgotten about it, but that's something that I used to do quite a lot, and that seems to have happened again with this new record."
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2000 light years from home
'AM' is Goud in België: 15,000 exemplaren verkocht.
Ondertussen dik boven de 400,000 in Engeland. Rond de miljoen wereldwijd.
[ Bericht 23% gewijzigd door Aisumasen op 11-12-2013 16:24:19 ]
Ondertussen dik boven de 400,000 in Engeland. Rond de miljoen wereldwijd.
[ Bericht 23% gewijzigd door Aisumasen op 11-12-2013 16:24:19 ]
En qua festivalshows rolt de trein ook verder. "Voorlopig" nog geen andere aankondigingen gepland deze week, maar Roskilde is nu wel officieel bevestigd, en zal zelfs de enige gig in Scandinavië dit jaar zijn.
