Within Temptation Interview
WITHIN TEMPTATION Interview with Sharon den Adel (vocals)
by Steffi Christensen
The new acoustic live album AN ACOUSTIC NIGHT AT THE THEATRE hits the stores on October 30th. Why did you decide to bring out an acoustic album?
Well, because we did the theatre show almost a year ago, and we never brought any actually out acoustically. I think our music suits to release in an acoustic way. And I think… well, it’s also because the new album won’t be coming out until next year probably. And this is a nice thing in between which we haven’t done before. It will surprise fans also in a way that we can sound differently acoustic, and that the songs and basics are still so solid that they can, that you can make new arrangements and make them sound sometimes quite different and very good.
In the released “normal” versions your songs usually sound very bombastic and complex. Now you stripped them down almost completely. What makes it special to you to play these “stripped-down” versions? Is it more satisfying to get to the core of a song?
Well, it’s like an adventure because you know the songs for many years how they are, and then you have to strip them down, like you say. And you want to make them as beautiful as possible. Still, you don’t want to strip them down completely, but you make new arrangements. And that’s a big adventure because you never know how they will sound then eventually. And then they become a little bit, they become different in a way, and they become interesting to listen to again because you know them for so long, and then when they have these new arrangements and everything, it changes a lot. I think especially because of what was nice for me, like I said, is we haven’t done this before. We have so many different elements to Within Temptation: it’s the bombastic side, but also this small and intimate side, I think. And this was our way to show that we can sound this way also.
Has it been a lot of work to find the new arrangements for these songs? Or was it more like: “Oh, I know exactly how this song is going to sound like..!”?
No. Some songs were very easy and with some songs it took a lot more time. And some songs didn’t get on the setlist because they took too much time. And it was like: ‘Ok, we know we can do it, but it’s not for this serie of theatre shows we’re gonna do it. Maybe next time!’ Like MOTHER EARTH we wanted to have that also acoustically but it took too much time. It was like: ‘ok, this is a very difficult song because it’s so extremely bombastic and also rhythm-wise that we couldn’t change it to an acoustic one that quick. Not quick enough. ‘
It already took a long time to make it because you want to make it beautiful. You don’t want to strip it down completely just so it is only guitar and piano and vocals. You want to do it special, with a cello and a violin. And you want everything has to match. And yeah - I think that’s the reason.
You just mentioned “Mother Earth”: Did you have other songs where you first thought it should work out easily, but were facing difficulties when actually trying to find a new arrangement? Also, you didn’t use any songs of your first albums…
We did. In the past we played some songs acoustically from the first one. But we want to present new songs that haven’t been heard acoustically yet. We didn’t play “Ice Queen” either which we played a lot of times before, acoustically of course. And “Restless” is the only song we ever played acoustically. But yeah, you also have to… or maybe that’s a good idea for the next try. I’ll keep it in mind. But you’re totally right: we didn’t take any songs off that because I think we could but we didn’t work on it. We didn’t think of it actually. Also because I think they were maybe too far off when you have like death grunts to be sang in a normal way. And who is gonna sing it, because there is no male vocalist who can sing that well normally on stage. Ruud is still learning a lot. He has a nice voice but it’s also learning performing on stage. Singing is different than guitars. So it will take some, a few more years maybe (laughs).
A lot of bands have been recording acoustic shows at venues, but few of them recorded the show in an actual theatre where the acoustics are very much different from a normal live club. What was the most difficult thing about recording a live show in a theatre?
Sometimes it’s drums, of course, because when you sing something you are gonna hear the drums over your microphone. And we couldn’t play with a plastic glass… how do you say it… wall. And well, that’s sometimes difficult to record because then you hear sometimes music comes back through your microphone again, so I hear the drums far away. I hear them directly but I also hear them through the venue again. So acoustics-wise sometimes it’s like a little bit difficult. But that was the only thing actually that was difficult to record. But the other side was, we also tried to film it actually. And that was more of a difficult thing because we tried, we wanted to work with visual illusions - if you can imagine something about that - 3D-projections. And we tried to film it. And that totally failed because of the fact, if you want to do visual projections, illusions, then you can’t use too much light. And, you know, then you can’t film it. We are gonna try to film it still, next tour that we are gonna do in the theatres and maybe do them in a different way or something. With the same result of course. Because I think not only to hear the songs was very nice but also to see it, because we made a theatre show, a real theatre show of it.
With theatrical elements you are probably referring to the holograms of your duet partners Keith Caputo or Anneke van Giersbergen which appeared during the actual songs…
That was the fun part of it because people thought like: ‘Is she really here? Is she really there? Is she or is this… a hologram!?’ You know, they didn’t know what was happening. And that was really funny. And that surprised a lot of people because they didn’t expect something like that, of course. And so it became really theater-y in a way.
You already have a new theatre tour booked for the beginning of next year. Are you planning to do the same show again or do you have something completely different in mind?
There was a big group of fans that couldn’t see these shows or didn’t go. And afterwards they were very, well, in a way sad that they didn’t go because it was a sold-out tour. And so we decided - because also the theatres were very enthusiastic about it - and they said, like: ‘Ok, could you come back in 2010?’ And we were like: ‘Yeah, we liked it a lot!’ And maybe also our fans will appreciate it that there are new shows coming up with the same show, maybe a few alterations here and there and a few different songs, but the biggest part will be the same. And then other people will have the chance as well to see it.
Well, at least the fans in the Netherlands and in Belgium… Why did you decide to do the theatre tour only in these countries? I’m sure there are fans in Germany and elsewhere in Europe who are dying to see that show… Why not Germany?
We would love to go to Germany. And if they will have us we will come here and do the same thing. But what we were told was that it’s not very usual for theatres in Germany to have bands play or perform in this way. There are not that many nice venues. And I was not sure about it, that’s what I was told. And maybe also it’s nice in a way that we start it in the Netherlands and Belgium where there is this culture of theatres taking in bands and let them perform acoustically. So we have it like, ‘ok, we have proof that it was really successful and now we can go to Germany and hopefully people will get enthusiastic in Germany as well.’ And I’m meaning the theatres, of course fans will like to see it. But theatres should maybe also see a future in that because, well, in Holland it was like: people would not go that much anymore to theatres. But nowadays all these bands are coming in, there is a new audience coming to the theatre. And that’s something that’s interesting for them also. To see and think long-term, of course.
Fall Out Boy: Greatest Hits
FALL OUT BOY’s BELIEVERS NEVER DIE-GREATEST HITS,
SET FOR NOVEMBER 17th RELEASE ON ISLAND RECORDS (NOVEMBER 16th INTERNATIONALLY)
No sooner had multi-platinum three-time MTV VMA-winning, Grammy nominated, Island Records group Fall Out Boy wrapped up their North American tour with their reunited pals in Blink-182 over the weekend – they announce today the release of BELIEVERS NEVER DIE – GREATEST HITS, the first Fall Out Boy greatest hits collection, arriving November 16th internationally, and November 17th in the U.S.
The 18-track BELIEVERS NEVER DIE – GREATEST HITS will contain two rarities and two never released tracks. One of these, “Alpha Dog,” will go to modern rock radio on October 19th as the new single from Fall Out Boy. Final track listing for BELIEVERS NEVER DIE – GREATEST HITS is listed below. Also included will be a DVD with Fall Out Boy’s 14 Greatest Hit videos with exclusive band commentary.
Hailing from the Chicago ’burb of Wilmette, Fall Out Boy – Patrick Vaughn Stump (vocals/guitar), Pete Wentz (bass), Joe Trohman (guitar), and Andy Hurley (drums) – have appeared on the covers of Rolling Stone, Spin, Blender, and Alternative Press. They have performed on NBC’s Saturday Night Live, The Tonight Show with Jay Leno, and Late Night with Conan O’Brien, CBS’s The Late Show with David Letterman, ABC’s Jimmy Kimmel Live, and more. They have won three MTV Video Music Awards and have received a Grammy nomination as well.
TRACK LISTING FOR BELIEVERS NEVER DIE – GREATEST HITS
Dead On Arrival
Grand Theft Autumn
Saturday
Sugar, We’re Goin Down
Dance, Dance
A Little Less Sixteen Candles, A Little More “Touch Me”
This Ain’t A Scene, It’s An Arms Race
Thnks fr th Mmrs
The Take Over, The Breaks Over
I’m Like A Lawyer With The Way I’m Always Trying To Get You Off (Me & You)
Beat It
I Don’t Care
Americas Suitehearts
What A Catch, Donnie
Alpha Dog
BONUS Tracks
“From Now On We Are Enemies”
Yule Shoot Your Eyes Out
Growing Up
Rob Zombie: Hellbilly Deluxe II
Rob Zombie has inked a new global deal with leading rock label Roadrunner Records..
The announcement comes as Zombie exits his former label of eighteen years, where he sold fifteen million records as a solo artist and with his former band White Zombie. Zombie’s new album, ‘Hellbilly Deluxe 2’ will now be released by Roadrunner’s Loud & Proud imprint in early 2010.
“It certainly wasn’t an easy decision to make after all this time, but it had to be done,” states Zombie. “I love this new record and wanted to surround myself with an excited new group of people who can reignite my enthusiasm for working within a hard rock record label. Roadrunner seems to be the perfect place.”
“Roadrunner is thrilled to be involved with Rob Zombie on a worldwide basis, as he is a multiple-threat artist whom we’ve admired for many years,” said Roadrunner president Jonas Nachsin. Tom Lipsky, founder and president of Loud & Proud echoed Nachsin’s sentiment, “Rob Zombie hits hard on ‘Hellbilly Deluxe ‘2 and the fans expect nothing less. We are excited about the monster mayhem that he is certain to create!”
The first single from the new album, “What?” recently launched at all rock radio formats and is quickly climbing the US radio charts. This latest album marks the follow-up to 1998’s ‘Hellbilly Deluxe’, which has racked up triple platinum status in the US.
The track listing is as follows:
1. Jesus Frankenstein
2. Sick Bubblegum
3. What?
4. Mars Needs Women
5. Werewolf, Baby!
6. Virgin Witch
7. Death and Destiny Inside The Dream Factory
8. Burn
9. Cease to Exist
10. Werewolf Women of the SS
11. The Man Who Laughs
Zombie kicks off his first headline tour since 2007, in Phoenix, AZ (October 29th). Shows in Las Vegas, NV on the 30th, and a very special Halloween event on October 31st in Hollywood, CA, follow. Zombie will be accompanied by his longtime band mates - guitarist John 5, bassist Piggy D and drummer Tommy Clufetos.
In addition to his illustrious recording career, Zombie has also written and directed five feature films. Most recently was the animated cult favorite ‘The Haunted World Of El Superbeasto’ based on his successful comic series. This season’s Halloween 2 (August 2009) followed up Zombie’s record breaking blockbuster re-imagining of Halloween in 2007. In 2005, Zombie assaulted the film world with the critically-acclaimed ‘The Devil’s Rejects’ (Lionsgate), the follow-up to his already cult classic ‘House of 1000 Corpses’ (Lionsgate 2004).
For further information, or point your were-mouse at www.RobZombie.com for Hellbilly Deluxe 2 World Tour updates, including the official blog, Twitter feed, photos, and videos directly from the road.
The Bookhouse Boys SHOOT YOU DOWN EP (Black Records)
I have issues with bands having a multitude of members! Anything over the old four-piece rock n roll combo needs justifying in my book and this lot weigh in with nine contributors, including two trumpeters and a stand up drummer would you believe it?!
Putting my unjustified prejudices to one side though, here we have a North London outfit whose debut album last year gained a fair amount of underground critical acclaim. They swathe themselves in retro morosity and bear close allegiance to Nick Cave both in terms of the sulky atmosphere and the rich vocal depth of Paul van Oestern. But it’s the complimentary vocals of Catherine Turner that adds scope to their performance (not the bloody trumpets!).
The title track here is a sultry yet seductive number, stripped down instrumentally to allow the strength of that vocal duetting to shine through. It’s almost sleazy in its delivery, particularly with lyrics like “I’ll take off your skirt for you and bury my dirt in you”, which is somewhat difficult to misinterpret.
“Mercy Me” is a brief choral adventure with an orchestral backdrop of sound before a slightly longer version of “Shoot You Down”, then “To Forgive” where Turner’s fragile vocals are backed by a more electronic arena, sounding very much like Portishead, before charging into a calypso (with trumpets!). Final track is a remake of last year’s single “I Can’t Help Myself” which remains a very good song, given an atmospheric work over here and leaves the EP with a desolate unease, including an eerie trumpet (yes, trumpet!) solo, then a fitting delicate acoustic exit from the EP.
An impressive outing all up then and, despite not receiving the justification for the size of the forum, a bleak yet compelling set of songs. If you feel that way inclined, you can get it on 12 inch red vinyl as well, so go buy it because the royalties are being spread very thinly!
4/5
http://www.myspace.com/thebookhouseboys
TC
Dream Theater Interview
What’s behind the title BLACK CLOUDS & SILVER LININGS?
That comes from the expression ‘every cloud has a silver lining’ which means that every negative situation can have a positive outcome. It’s like ‘a glass is half full or half empty.’ I thought it applied really well to the lyrics of the song. The lyrics are ranging with issues like death and near-death and near-fatal accidents, and recovery from alcoholism and addiction. So in all cases the lyrics are dealing with situations that are dark and heavy, but in all cases they have an optimistic twist that you can come away with. Also it applies to the music. Dream Theater music is very dark and heavy at times, and at other times very light, melodic and dynamic. So that’s kinda like the contrast between the black cloud and the silver lining.
Talk about the writing process with yourself and John…
The writing process starts always with the music. Dream Theatre has always started instrumentally and then the vocals come later in the process. Like most of our previous albums we just moved into a recording studio, locked up for many months and just moved in and played. The four instrumentalists in the band just jam and mould these ideas and build these ideas, and that’s why these songs usually end up so long - we have several people giving input into the construction of them. Once the music is written, and in the case of this album, then me and John Petrucci would just divvy up the songs and each of us would go off and write the lyrics and melodies. We then demo the songs with each of us singing and then present them to James to learn and come in. Then we focus on the vocals later in the process.
The album covers a number of personal issues, such as the loss of your father and recovering from addiction. How do you feel about putting such private experiences and feelings on record?
I’ve never had a problem with personal lyrics and opening myself up to everyone. On this album I’m writing about losing my dad to his battle with cancer throughout the making of this record which is very, very heavy and a personal thing in my life. But I felt like writing this song was a tribute, in a way to immortalise him for the rest of history, in a song. It’s tough to open yourself up like that - it can be very heavy and emotional but at the same time there’s a real silver lining to that black cloud. It feels good to pay tribute and share his life with the whole world.
Tell me about the song, ‘Right Of Passage’…
‘Right Of Passage’, is the first single and video from the album. Well first of all it was pretty obvious which were going to be the singles off this album because out of six songs, four of them were over the twelve-minute mark, and only two of them are under the ten-minute mark. So that in itself immediately identified which were the singles. ‘Right Of Passage’ seemed like the best and most obvious single because it has all the Dream Theater qualities; it’s got some great riffs, a heavy groove and a great melodic, catchy chorus. I think it’s a real strong song that really encompasses everything that Dream Theatre is about.
The album closer is the 20-minute ‘The Count Of Tuscany.’ What’s the story on this one?
Yeah, ‘The Count Of Tuscany’ is one of those Dream Theater quintessential epics and this album is full of epics. Four of the songs are over the twelve-minute mark, that’s the way we feel more comfortable writing, that’s the way we naturally write. It’s very easy for Dream Theater to write long songs. It’s always the challenge to write the shorter songs which is the opposite to most bands I think. ‘The Count Of Tuscany’ is just one of those songs that just has a little bit of everything for everyone. It’s a twenty-minute journey, it’s the length of a sitcom TV show, so you have to sit down and pay attention to really get everything out of it.
You’re heavily involved in absolutely everything Dream Theatre. How do you find the time?
I am a workaholic, an obssessive, compulsive control freak. I think every band needs one [laughs a lot]. So that’s me in this band. I’m a passionate, driven person, I’m usually balancing twenty different things at once. Throughout the making of this record, as if that wasn’t enough ‘cos I was the drummer, wrote the music, wrote the lyrics and co-produced - as if that wasn’t enough - I was working on the four official bootleg titles, I was working on the Live Liquid Tension Experiment Box Set. Then I went immediately into the studio with Transatlantic, and had to oversee the artwork, and the labels and the marketing, and the tour plans, and the opening bands, and the… So, how do I do it? It’s just takes a certain personality, you know. Some people are like the way I am, other people, like some of the guys in the rest of the band, are just happy to be at home with their family, turn off the phone and not check their e-mails… But it works for us, it makes my family crazy but it makes the fans happy…
Dream Theatre has surpassed the the 20 year career mark. A simple question - how?
Yeah, you’d think after doing this for twenty plus years we would be on auto-play at this point, but it’s not the case. Every time we make a record we still get inspired and excited. I guess it’s because we write together where other bands have just one writer bringing in the song - it could get boring. But with us, we totally challenge each other and inspire each other, and then we write this music that always excites us. When you get on the road sometimes it can be a little redundant, playing the same places for dozens of times over for all the years, but there’s always new people in the audience, new songs to play, new cities to visit. So it somehow stays interesting.
Corey Taylor Interview 2009
Corey Taylor (Slipknot and Stone Sour) Interview
Say hello Corey…
Hi, I’m Corey Taylor, vocalist extraordinaire for Slipknot and Stone Sour
Read more 
Ministry of Sound: THE ANNUAL 2010
MINISTRY OF SOUND: THE ANNUAL 2010
Release Date: November 2, 2009
Say goodbye to 2009 and let the best of dance music shine!
The Annual series is no stranger to the number one spot in the compilations charts, and for the past 14 years the original and best dance album out there has smashed it time after time, and this year is no different. Once again, Ministry of Sound don’t fail to deliver and have gone all out to end the decade in style with three definitive CDs representing not only an amazing year in dance music, but splattered with future smash hits as well.
Boasting artists such as Dizzee Rascal, Pitbull, Armand Van Helden, David Guetta and Basement Jaxx, The Annual 2010 has something for every dance enthusiast, and you won’t find any runts in this three-disc dance litter!
Disc One kicks the album off in style with aNYway, a brilliant collaboration from Armand Van Helden & A-TRAK (AKA Ducksauce), followed by a host of number one smashes from Dizzee Rascal, David Guetta and Calvin Harris. As if this wasn’t enough, there’s also some massive remixes of Friendly Fires, Jack Penate and Emipre of the Sun.
The pace picks up a notch on Disc Two with some upbeat treasures including the huge floor filler I Know You Want Me from Pitbull, as well as dance god Basshunter’s Every Morning. Disc Two is also home to another special collaboration, this time taking the form of Bassment Jaxx and Sam Sparro. Disc Three will really test your speakers and starts the way it means to go on with future smash Riverside from Sidney Sampson, plus 20 of the best bass-heavy hits on one disc with The Prodigy, Crookers and Fake Blood, as well as drum & bass from DJ Fresh, Sub Focus and Blame.
The Annual is full of dance music’s biggest heavyweights, so be prepared to be knocked out! When you make your next album purchase just remember…
One year, one album, The Annual. Only the best tracks get in.
Running Order:
CD1
1 Armand Van Helden & A-TRAK - Pst Ducksauce aNYway
2 Eric Prydz - Melo
3 Dizzee Rascal - Holiday
4 Chicane - Poppiholla
5 David Guetta & Kelly Rowland - When Love Takes Over
6 Example =- Watch The Sun Come Up - Fred Falke Remix
7 Deadmau5 & Kaskade - I Remember - Vocal Mix
8 Calvin Harris - I’m Not Alone MYNC - Payback Remix
9 SNAP! - Rhythm Is A Dancer - Armand Van Helden
10 4 Strings - (Take Me Away) Into the Night - Dave Darell Mix
11 Paul Van Dyk - Home - Wippenberg Remix
12 TV - Rock In The Air - Axwell Remix
13 Empire of The Sun - We Are The People - Shapeshifters Vocal Mix
14 Royksopp - This Must Be It - This could be thin white duke rmx
15 Friendly Fires - Jump In The Pool - Thin White Duke Remix
16 Jack Penate - Be The One - Armand Van Helden
17 Bloc Party - One More Chance
18 Simian Mobile Disco - Audacity of Huge
19 Fake Blood - Fix UR Accent
20 Sebastian Ingrosso - Kidsos
CD2
1 Basshunter - Every Morning
2 Pitbull - I Know You Want Me
3 Freemasons presents - Pegasus Pegasus
4 Booty - Luv Say It - Hot 22 Remix
5 Basement Jaxx feat Sam Sparro - Feelings Gone - Adrian Lux & Flores Full
6 Jesse Malacouti - Standing Up For The Lonely - Moto Blanco Remix
7 Bandito - Rockin’ At The Disco - Digital Dog Club Edit
8 Dizzee Rascal & Calvin Harris - Dance Wiv Me - Night Rider’s Remix
9 Sharam feat Kid Cudi - She Came Along - Vandalism Remix
10 Ornagez - I Gotta Feeling - Henry Blank Remix
11 Kano - Rock N Roll - Vandalism Remix
12 Tina More - Touch Me - Elektro Mix
13 Deborah Cox - Beautiful U R - Ali Payami Remix
14 Jessica Mauboy - Burn - Ali Payami Remix
15 Malibu Sneakers - Get Down Again - Paul Rincon Vocal Mix
16 Gathania - Blame It On You - Sidechains Remix
17 September -Can’t Get Over - Buzz Junkies Dub Mix
18 Way Out West - Only Love
19 MYNC vs Harry Romero & Jose Nunez - Boogers
20 Mark Knight & Funkagenda - Good Times
CD3
1 Sidney Sampson - Riverside - Rene Amez Riverkaas
2 Chuckie & LMFAO - Let The Bass Kick In Miami MYNC - I’m In Richmond Bitch Remix
3 Dizzee Rascal & Armand Van Helden - Bonkers - Soulwax Edit
4 The Prodigy - Warrior’s Dance
5 Crookers Feat Kardinal Offishall & Carla-Marie - Put Your Hands On Me
6 Platnum - Trippin’ - Redlight X Ray Remix
7 The Count & Sinden - Mega
8 The Gossip - Love Long Distance - Fake Blood Remix
9 Blame - Stay Forever
10 Kid Cudi vs Crookers - Day ‘N’ Nite - TC Remix
11 Sub Focus - Rock It
12 Steve Angello & Laidback Luke Feat. Robin S - Show Me Love - Blame Remix
13 DJ Fresh - Gold Dust
14 Snap! - Cult of Snap! - Matrix & Futurebound
15 Brookes Brothers - Tear You Down
16 Sharam feat. Kid Cudi - She Came Along - Danny Byrd Remix
17 The Qemists feat. Devlin Love - S.W.A.G.
18 Danny Bryd - Red Mist VIP
19 Don Diablo & Example - Hooligans - Spor Remix
20 The Prodigy - Omen
Lupen Crook & YOUNGMINDS Charity
LUPEN CROOK & THE MURDERBIRDS SUPPORT YOUNGMINDS CHARITY
On Monday November 16th 2009, Lupen Crook & The Murderbirds will release a six-track EP entitled CURSE OF THE MIRROR WICKED, in support of the UK’s YoungMinds charity. This EP will be free to download from the band’s website, but anyone downloading will be encouraged to make a donation - at whatever level they feel appropriate - to support YoungMinds. All donations to this project will go direct to the charity.
CURSE OF THE MIRROR WICKED EP Released To Highlight Mental Health Awareness
Tracks:
Sunshine Devils
Devil’s Son
Boy That Won’t Be Told
Love Underground
Of Lovers And Lost Children
Dead Girls And Daggers
Recorded live by Jim Riley at Ranscombe Studios on 22 October 2009
YoungMinds (www.youngminds.org.uk) is the UK’s leading charity committed to improving the emotional well-being and mental health of children and young people and empowering their parents and carers. This is an issue about which the band feels strongly, based on direct personal experience. Lupen Crook was diagnosed with schizoaffective disorder in his late teens and has lived with its effects over the past decade. Despite hospital treatment and medication, he remains affected by a condition that must be managed on a day-to-day basis. It has informed many of the experiences of his adult life, which have fed into his creative output. While he has referred to it in passing in interviews over the years, he has not talked in detail about it until now. The decision to support YoungMinds is based on a relapse that he experienced this summer.
The EP, which was completed just over three weeks before the planned release date, contains two songs written last year and four written in recent months. The themes of most of the songs, explained in the edited interview below, relate directly to Crook’s mental health experiences and his recent relapse in particular. They highlight both the positives and negatives of living with such a disorder. Schizoaffective disorder is just one of many mental health and broader emotional well-being issues affecting young people, including depression, anxiety, eating disorders, self-harm and ADHD amongst others.
Please support this release and the YoungMinds charity in any way you can. We are counting on fans, bloggers and journalists to spread the word and to donate generously.
Lupen Crook and The Murderbirds will release their third album in early 2010. Ongoing information about the band’s creative output across a variety of media (music, video, artwork, writing) can be found on the band’s website at www.lupencrookandthemurderbirds.co.uk. The band can be contacted via the website for further information.
Interview with Lupen Crook - October 24th 2009
You were diagnosed with schizoaffective disorder in your late teens. How did this diagnosis come about and how was it treated?
As a teenager, I was a strange, wiry person, prone to introversion and mania. Medication failed. After raging into my local doctor’s surgery, maddened, desperately crying and shouting, I was taken straight to hospital. I was just 17 then, and spent the following four weeks residing in one of Medway’s psychiatric wards. I was a complete bloody mess. I was put onto a long-term course of anti-psychotic drugs. I was told by my team of doctors that my ‘obsessive interest’ in music and its associative delusions were causing my symptoms to worsen. They advised me to stop at once. A sheer belief in my songs and music meant I had no option but to refuse their advice. Less than a year later, I spent a further five days in the same psychiatric ward and then again a few months later found myself at my wits’ ends, taking up residence in a hospital bed. That last time I discharged myself and disappeared of the radar completely. When I reappeared a few years later, I was signed off sick until 2010, and that was that, until now.
Ten years later, what are the challenges of living with the condition on a day-to-day basis?
Living with schizoaffective disorder on a day to day basis is simply learning to live with yourself. It is not any more or less difficult than anybody else’s struggles and strifes, because it’s all relative to who you are and how that feels. For the majority of time I can operate and live comfortably being the twisted and often troubled individual I am.
There’s a long and clichéd tradition of associations between “art” and “madness”. How does schizoaffective disorder impact your creativity?
For better and for worse, over the last seven years I have been learning to employ the symptoms of schizoaffective disorder thus drawing a degree of advantage from them. When the floodgates open, waves of creation crash and flow through you in such a way that all of these symptoms can, on occasions, be seen to serve a very useful purpose.
Tell us about the songs on the EP. What subjects do they cover and what was their inspiration?
Sunshine Devils is about being human. I have recently dreamed of Death Valley - oh, the wonder of living life in that hot heat and inescapable surroundings, to see if I were able to survive in those conditions, as only few animals can. It was written as a vocal line after I’d slept the night in an internet cafe in Oxford Circus. I had staggered half-awake into the crossroads at 8am, to witness the beautiful and insane rush past me on their way to work. Hardly a desert setting, yet I felt so separate from all else around me, this song seemed to encapsulate
that mood of being in a desert perfectly.
Just before the release of THE LOST BELONGINGS EP on July 4th I lost my voice due to a bout of laryngitis. The thought occurred that this could well be a curse laid upon me for my ill actions and cruel methodical practices: karma. This thought kick-started the beginning of a relapse, so ‘Love Underground’ was initially a song about that, and embracing the almost certain fact that this band and our music are destined to spend their life lost to obscurity. ‘Boy That Won’t Be Told’ is simply about the terrible treatment of my partner Sam, who bears the brunt of my awful psychosis and ill-tempered pokes to the side. ‘Devil’s Son’ was written whilst wandering the streets of London, mad as I can be, at a time when I was completely hell-bent, moon-drunk and beastly; ill at ease with everything around me, looking forward to the prospect of disappearing forever. ‘Of Lovers And Lost Children’ is the last song written in this chapter of songs (and that includes the forthcoming album), simply about a man admitting to himself and his love what he has become, a man seeking forgiveness. ‘Dead Girls And Daggers’ always was and remains a simple ‘throwaway’ song: a drunken dance number, pure pop, a bit of fun with sinister subject matter pinning it to the ground.
The EP’s release supports the YoungMinds mental health charity. What do you think is the importance of this organisation in particular?
As for the choice of charity, it goes without saying that my recent episode was a definite factor. As myself and Bob Murderbird are parents, it felt even more appropriate to select this charity in particular. YoungMinds deals with children, teenagers and the parents of those who may be suffering from mental illness. A parent will naturally suffer awful pangs of guilt, sometimes leading to a dangerous denial of their child’s deteriorating behaviour and mind. Mental illnesses remain an awkward subject and I have been keen to tackle that.
As 2009 draws to a close and a shiny new decade is only a few weeks away, how do you feel about the future?
Terrified, but in bloody good company. So goes the Crooked Family.
Photos By Jenny Hardcore
Hush Arbors YANKEE REALITY (Ecstatic Peace)
“‘Yankee Reality’. What does it mean? Does it portend that there is some unique, other plain of existence for northerners and/or city folk? Something perhaps alien to, well, everybody else? Virginia cum citizen of London/rambling man Keith Wood knows all about it. Several years ago, he relocated to the city of crumpets and tea, where he, among other things, secured a gig playing guitar for notoriously intense death folk legends Current 93. In the midst of all this excitement, he has managed to write and record a brand new Hush Arbors album, his second for Ecstatic Peace!, and it’s his finest to date. With a full band in tow, multi-instrumentalist Leon Dufficy, bassist Jason Ajemian, and drummer Ryan Sawyer - and none other than J Mascis in the producer’s chair, ‘Yankee Reality’ continues Wood’s winning streak while introducing an embarrassment of riches in the way of surprises and curveballs along the way.”
It’s a mystery to me how one can listen to an album for the first time and not be impressed, but then play it a couple more times and and end up loving it to death. How the feck does that work? It’s a mystery but it’s also a lesson that this reviewer has taken to heart and to PC keyboard. ‘Day Before’ opens this delicious collection with a song that rolls gently along, albeit with the relentless clatter of drums improv-style. The melody is superb, the punctuating country guitar riffs superb, the lyrics simple and powerful, the vocal distant but somehow close, in a connecting kind of way. ‘Lisbon’ opens with sharp military drum roll and burst of Tex-Mex guitar before the vocal enters to sing a narrative, folk-rock song. The track fairly rattles along with more wonderful guitar solos and another superb melody. ‘Fast Asleep’ drops down into much darker territory as the deathly drum rhythm pounds mercilessly while keyboards drone. The guitar riffs add an additional threatening dimension to this solemn tune, and the vocal crawls along to underline the song’s serious tone.
‘So They Say’ creates a place somewhere between heaven and hell, dread and hope, with the latter just winning out. It’s a contemplative tune echoed by the wimsical guitar vibe, and questioning vocal tone. ‘One Way Ticket’ is a throbbing, spaced-out tune with a wondering, rather detached piano notes that seem to be playing another song… very different, very interesting. ‘Coming Home’ verges on the epic with its wide-open country ambience, glorious instrumental mix and galloping pace. ‘Sun Shall’ is one of my favourites. There’s a distinctive Tex-Mex feel to this narrative song, with a highly orginal instrumental arrangement that creates a dramatic effect. ‘Take It Easy’ has an altogether lighter ambience created by its jaunty instrumentals and a vocal that sounds like it’s having fun. Jangling guitar introduces ‘For While You Slept’, a song that travels along in deliberation and then soars with the most vivid, wonderful crescendo choruses, and all driven by a monster of a melody. It’s another standout track. Finally, ‘Devil made You High’ rocks out the album in grand style with the relentless hum of guitars and a throbbing drum rhythm. The song builds quickly to epic scale as the instruments crash away underneath a quite sedate vocal. It’s highly original and an absolute slam-dunk of a song. Brilliant.
Boy, am I glad that with age comes patience… This is a brilliant album which delivers a wonderful diversity of pace and mood, with instrumental passages that top most of what I’ve heard so far in this excellent album release year. The song writing is first rate, there’s door-opening melody to-burn and a wonderful sense of time and place. Suck long and hard on this one my friends, the flavour will eventually stun you…
4.5/5
Phoenix Live in Manchester ‘09
”the finest tunes you’ll hear all year - this could be the Phoenix’s OK Computer and Kid A rolled into one.”
Q - 4 Stars ****
“Texturally rich and brilliantly detailed… the fashionista-faves fourth might just see them go overground”
NME - 8/10
“Every song feels like it could soundtrack some epic montage of young love gambolling through the sunset capitals of Europe.”
Uncut - 4 Stars ****
“Grandiose, dramatic, intriguing… ‘Wolfgang Amadeus Phoenix’ is bloody wonderful.”
WORD
“Some of 2009’s most glorious pop moments so far… Phoenix have struck musical gold with this album”
The Fly - 4 Stars ****
“A tour de force.. pulsing beats, moody atmospherics and dazzling guitars… Magnifique!”
The Sun - 4.5 / 5 *****
“Phoenix are the best… Lisztomania and 1901 are as good as anything they’ve ever done.”
The London Paper - 4 Stars ****
“Phoenix have delivered a gem: complex, intricate music-making with a sunny disposition.”
Esquire
“Wolfgang Amadeus Phoenix makes a good case for being album of the year… It’s clever, interesting and memorable - everything you want
from a pop record.”
Metro - 4 Stars ****
“Supremely melodic and uplifting… devastatingly brilliant.”
Gay Times - 4 Stars ****
“An indie masterclass. Spiky, cool and armed with hummable choruses. An electro-charged version of how The Strokes should’ve evolved.”
Zoo Magazine - 5 Stars ****
“A well rounded, beautifully exciting record… a soundtrack to the summer, and another winner from the Phoenix.”
Future Music - 8/10
“A joyful affair, instantly leaping out of the speakers with a cheery grin on its face… eminently danceable.”
Loud and Quiet - 8/10
Now when you read a bunch of reviews like this, even the most cynical reviewers (like moi…) would have to be a little inquisitive about the band and its record. So I did my homework and found this:
Phoenix started during their childhood by Thomas Mars, Deck D’Arcy, Christian Mazzalai and Laurent Brancowitz in the affluent suburb of Versailles, France, in the same culture that produced late-’90s bands such as Air and Daft Punk.
Phoenix started as the backing band for a remix of Air’s “Kelly Watch the Stars” single. Soon after, Phoenix released their 2000 debut album United. The name Phoenix was officially chosen in 1996 when Laurent Brancowitz permanently joined the band after the end of the short-lived band Darlin’ he formed with Thomas Bangalter and Guy-Manuel de Homem-Christo, who eventually became Daft Punk.
Phoenix’s music has been featured in such films as Shallow Hal and Lost In Translation, with the band themselves appearing in the 2006 film Marie Antoinette, a film, like Lost In Translation, directed by Sofia Coppola, Thomas Mars’ partner.
SO WHAT WENT RIGHT AND WHAT WENT WRONG…
Okay, the opportunity presents itself to go see the band perform in Manchester, an hour down the motorway and 2 car crashes later, I arrive to be met by a mile-long queue to see Fightstar! I kid you not; 2,500 raving young fans (mostly micro mini-skirted female teens) and it’s a mid-term lock-out. But I digress. The Phoenix show is also sold-out and as I make my way down to the ‘pit’ to take some photos, I find that someone has stolen it! Now who the hell would want to steal 20 odd metres of metal barrier? Lord knows, so I then politely ask a couple of people to move over at the stage front (this is a generous audience) and I’m in, rarin’ to go.
In support is an unknown Yankee three-piece outfit called Chairlift, although there’s actually four of them, and I wonder if they realise that they have been infiltrated… Be that as it may, I gotta say they were interesting. Caroline Polachek (half Polish, half Czech?) on vocals looks rock ‘n’ roll with her unmade-up, natural look and bra-strap revealing smock. Patrick Wimberly was on drums but grabbing the bass guitar when nobody was looking, and Aaron Pfenning the highlight-haired guitarist who occasionally wanders to the edge of the stage, in front of Caroline - perhaps to let everybody see that he’s actually a lot prettier…
Now I would like to say that I heard them with absolute clarity, but I would be telling porkies (big ones). You see the sound was atrocious and I couldn’t hear a sodding thing, and so had to rely on the response of the gathered throng who were more than generous with their applause. So I clapped too and even waved my arms in the air and nodded my head in approval after one song, in-tune with the decibel level of the audience. That said, the band looked as though they were passionate and skilled, and deserving of my appreciation. When I got home, I Googled them, listened to a couple of the songs played, and didn’t feel so silly - not bad at all, sort of indie-pop-dancey, synthy music; 80’s updated.
Set List: Evident Utencil, Territory, Flying Saucer, Earwig, Bruises, Planet Health.
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