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Beiträge
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Never talking to you again ist von Grant Hart, ist aber einer seiner besten Songs überhaupt!! (Neben „Dead set on construction“, „Don't wanna know if you're lonely“ und „Diane“)
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Saffer on myspace: http://www.myspace.com/stefansafferHighlights von Rolling-Stone.de11 coole Zitate aus „Und täglich grüßt das Murmeltier“
So klingen die größten Schlagzeuger ohne ihre Band
Welches Equipment verwenden eigentlich…Pink Floyd?
Musikalische Orgasmen: 6 Songs voller Höhepunkte
Dies ist (laut Fans und Kritikern) die beste Folge von „Friends“
Studio-Magier: Die 8 besten Musikproduzenten
Werbung@jimmydean:
Chartered Trips hast Du noch vergessenAusserdem:
First of the last calls
It's not funny anymore (von Grant Hart, aber furioses Gitarrenspiel von Bob, habe mal eine Zeit lang versucht dieses Oberton-Riff hinzubekommen – keine Chance)--
?Originally posted by thomlahn@17 Sep 2004, 13:53
It's not funny anymore (von Grant Hart, aber furioses Gitarrenspiel von Bob, habe mal eine Zeit lang versucht dieses Oberton-Riff hinzubekommen – keine Chance)Wenn Du es mit Capodaster auf dem 2. Bund in D-Dur spielst, mußt Du nur die G-Saite chromatisch nach oben rutschen und dabei aber die D- und h-Saite mit anschlagen, dann kriegst Du es ganz einfach raus!!
Der Song is natürlich allergrößtes Kino!!!
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Saffer on myspace: http://www.myspace.com/stefansafferOriginally posted by Saffer38@22 Sep 2004, 15:58
Wenn Du es mit Capodaster auf dem 2. Bund in D-Dur spielst, mußt Du nur die G-Saite chromatisch nach oben rutschen und dabei aber die D- und h-Saite mit anschlagen, dann kriegst Du es ganz einfach raus!!Der Song is natürlich allergrößtes Kino!!!
:lol: Ja, die alten Taschenspielertricks. Die Jungs kochen ja auch nur mit Wasser und versuchen es sich bequem zu machen. Ich werd es mal in einer ruhigen Stunde ausprobieren.
(Also so in 5 – 17 Jahren)
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?Oh ja vor allem Bob ist ein wahrer Trickser vorm Herrn! Aber das zeichnet halt die Genies aus ;)
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Saffer on myspace: http://www.myspace.com/stefansafferWährend die halbe USA „Vote for change“ tun tut, gibt es im Land der unbegrenzten Möglichkeiten noch mehr das stinkt!
Und auch dafür sind zur zeit ein paar Künstler mit einer guten Aktion unterwegs, so auch BOB MOULD!!!! mehr dazu unter:
http://www.granarymusic.com/wedrock/
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Saffer on myspace: http://www.myspace.com/stefansafferWas für ein Jahr!! Alle meine „heroes“ mit neuen Alben, yeah!!!
Und die Überraschung des Jahres wird das neue Album von BOB MOULD „Body of song“, das am 26.7. erscheint, denn obwohl er es anders angekündigt hat, wird Bob wieder zu lauten Gitarren und emo-geprägtem Power-Rock’n’Roll zurückkehren, jajajajja!!!
Hier die offizielle PM:
BOB MOULD
BODY OF SONG
JULY 26Bob Mould returns to the signature guitar sound and songwriting style that helped define a genre on Body Of Song, due out July 26 on Yep Roc.
Written and recorded mostly over the course of the past year, Body Of Song is Mould’s first new album length release since 2002, and his first since the mid-90s to employ a guitar-heavy full-band approach („Paralyzed,“ „Circles“) as well as a few subdued, acoustic-based ballads („High Fidelity,“ „Days Of Rain“) and some new twists, such as the electronically treated vocals riding atop waves of guitar on „(Shine Your) Light Love Hope.“
Guest musicians on Body Of Song include Brendan Canty (Fugazi), David Barbe (Sugar), Matt Hammon (1998 Bob Mould Band), and Amy Domingues (Garland Of Hours).
Body Of Song’s release will be followed by a fall world tour that will see Mould performing material from all stages of his career-solo, Sugar, Husker Du-for the first time in a full band context. Of the above musicians, Canty has signed on to play drums for the tour.
Body Of Song was produced and mixed by Bob Mould with engineers Don Zientara (Inner Ear Studio, Arlington VA), David Barbe (Chase Park Transduction, Athens GA), Frank Marchand (Waterford Digital, Pasadena MD), and Mould himself (Granary NYC, Granary WDC).
Track listing is as follows:
1. Circles
2. (Shine Your) Light Love Hope
3. Paralyzed
4. I Am Vision, I Am Sound
5. Fucked Underneath Days
6. Always Tomorrow
7. Days Of Rain
8. Best Thing
9. High Fidelity
10. Missing You
11. Surveyors And Cranes
12. Gauze Of Friendship
13. My Old Friend
14. Beating Heart The Prize--
Saffer on myspace: http://www.myspace.com/stefansafferMal wieder nach vorne holen, neues Album im Juli!
Ansonsten, Leute, hört mehr Mould/Sugar/Hüsker Dü – Songs wie diese, werden heute nicht mehr oft geschrieben!!!
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Saffer on myspace: http://www.myspace.com/stefansafferUnd er kommt live nach Deutschland!!! Für 2 Konzerte im Herbst:
Sept. 9 – Grünspan – Hamburg
Sept. 13 – Bürgerhaus Stollwerk – KölnYes!!
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is ja wie Weihnachten, ostern, Geburstag, sex – wie alles auf einmal!!! Yess!!
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Saffer on myspace: http://www.myspace.com/stefansafferSo, thread nach vorne holen, der Countdown läuft: Am 26.7. erscheint endlich Bobs neues Album „Body of song“ -FREU!!!!
mehr dazu auf www.granarymusic.com
„Today I’m starting the rest of my life,
today ‚ can touch the sky…………“ („Moving Trucks“, Bob Mould)--
Saffer on myspace: http://www.myspace.com/stefansafferMore infos:
„At its core, „Body of Song“ is a return to the blend of punk and pop that Mould fashioned in the 1980s with Hüsker Dü and in the 1990s with Sugar. Fans of those bands and Mould’s solo work will find that new songs such as “Best Thing,” “Missing You” and “Paralyzed” brim over with the power, ebullience and melody that has been his trademark in more than two decades of music.
Yet as much as Body of Song reaches back to revisit the robust directness of Sugar\’s Copper Blue (1992), Beaster (1993) and File Under: Easy Listening (1994) or the stripped-down revelations of Mould’s 1989 solo record Workbook, attentive listeners will find that Mould’s recent explorations in electronica – including 2002’s Modulate – have pushed those familiar sounds into new arenas on songs such as “(Shine Your) Love Light Hope” and “I Am Vision, I Am Sound.”
Indeed, the collision of past and present on Body of Song emphasizes the numerous continuities in Mould’s 20+ year career. It also makes the record’s title – and a forthcoming Mould tour that will showcase material from his entire oeuvre – more than an apt phrase.
“Someone joked that Body of Song is two parts Copper Blue, two parts Workbook, a part Beaster and a part Modulate,” Mould wisecracks.
But all joking aside, Mould observes that Body of Song delivers that most old-fashioned of rock’n’roll pleasures – a cohesive long-playing record that revels in its wholeness and potency.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
“Sonically, start to finish,” says Mould, “Body of Song sounds like an album is supposed to sound. Don’t ask me in this day and age why I bother, but I still do. I still think an album should read like a book.”
“This won’t be/ the sound of me/ Looking for some kind of closure.” — “Best Thing”
All books – and records – have a back story. Bob Mould’s Body of Song is no different in that respect.
In its original incarnation, Body of Song was to be part of a trio of new Mould records released in 2002 – along with Modulate and the deep electronic grooves of LoudBomb. A few tracks were recorded for that version of the record with Sugar bassist David Barbe and Bob Mould Band drummer Matt Hammon – including songs such as “Circles,” “Missing You,” “High Fidelity” and “Gauze of Friendship” which also made the cut for the new release.
Upon reflection, Mould says that he might have been going a record too far, too fast. “I just wanted to give my head a rest,” he says of the decision to temporarily shelve the first version of Body of Song.
Mould spent some time further cultivating his newfound love of club music. Among the fruits of those labors are Mould’s “Blowoff” club nights, co-hosted with Pink Noise remix master Richard Morel. In 2004, however, Mould rediscovered his love for power chords and pop and punk.
“I played a couple shows and started getting back into the guitar,” he says. “And I started writing guitar songs again.”
As he dashed off new songs such as “Days of Rain,” “Always Tomorrow” and “Underneath Days,” Mould pulled Body of Song off the shelf and recast it as a project that would marry old and new in his career.
“It’s a guitar record,” says Mould. “But there’s a good dose of electronics too.” What has changed now, he says, is that those new influences are more assimilated into the whole.
“I was learning a new set of tools,” he says. “I was fascinated by the idea of this new set of sounds. But on Modulate, they were pushed way to the front and the guitars were suppressed. On this record, the tables have been turned a little bit. I found a healthier integration of my guitar sound with an updated production.”
So Mould went to work in the studio, laying down tracks himself and using his newly-acquired mixing skills to push the new songs where he wanted them to go.
“The way I grew up recording is where you do it in one take and it’s live and you do it to analog tape,” he says. “It’s this linear situation that you don’t really interfere with. Now everything I’m doing is so non-linear…I can stretch tempos and lift sections and move them around. The editing process in some ways has become the compositional process.” Mould says that editing as composition is in evidence throughout Body of Song. “There’s a good amount of time on this record where you hear guitars go by and those are just guitars that are sampled from sketches,” he says. “They’re cut and moved around.”
At various points in his work on Body of Song, Mould also brought in Fugazi drummer Brendan Canty and Garland of Hours cellist Amy Domingues to put on finishing touches on the newer material. Through trial and error, Mould finally emerged with the record that he wanted.
“There’s been a start to finish sequence to this record that’s changed a lot,” observes Mould. “I’d pull one song out and put another one in. A lot of 2004 was just that: pulling things out and putting them back in.”
“Who could live with me/ In high fidelity?” — “High Fidelity”
Individual pieces on Body of Song shift easily between rockers, ballads and club anthems. But what all of the new work possesses is a consistency that is built on ringing clarity and deeply-felt passions.
“I wasn’t spending a lot of time worrying about whether I had put enough unnamable chords in the songs, or if there was enough vague allegory so that people won’t know what it’s about,” says Mould of his new work. “These are songs about love lost, love found, hate lost and found. The simplest of emotions.”
Mould says that the move to what he calls “this totally visceral simple pop stuff” is rooted in his own sense of tranquility. “I’ve been through a lot personally the past couple years,” he observes. “I have a sense of wonder back about life. I’m open to new things, new ideas. Life is getting a bit simpler, so maybe my work is starting to show that.”
That clarity and passion are paired with music that is shot through with vigor and zest, be it the foursquare rock of “Best Thing” and “Missing You” or the anthemic bursts of crunching guitar laid over throbbing club beats on “(Shine Your) Love Light Hope” and “I Am Vision, I Am Sound.”
“It’s just a groove, really,” says Mould of the latter song. “I got lucky with the words. “Between that song and ‘New Day Rising’ (the title track of the classic 1985 Hüsker Dü record) – it’s not such a stretch compositionally.”
Amidst the guitars and grooves, Body of Song is filled with exquisite touches – ranging from the tweaked-up sampled church bells that tumble into a swell of organ on “High Fidelity” to the tug of cello under the surging guitars that close out “Gauze of Friendship.”
Mould also points out that the album’s final track – “Beating Heart the Prize” – is “a very classic Bob closer right up there with ‘Whatever Way the Wind Blows’ (from Workbook) and Sacrifice/Let There Be Peace’ (from 1990’s Black Sheets of Rain).” It’s also a case study in that editing as composition process.
“The front part of that song I stole from Avril Lavigne by accident,” Mould chuckles. “I think Green Day stole it too. A chunk of the song is pitched down two octaves and then sped up triple speed. I just sat there in the studio and kept manipulating it and stretching it until I got that weird cauldrony kind of effect. So I laid that sound underneath and then there are these other little sonic bursts that start spiking at you as the song goes along. And then you wonder if he’s going to put a big guitar solo here…”
Mould does lay down that guitar solo – which winds and slithers and crashes into the song’s chugging, muscular chorus, catches its breath, and erupts anew as the song scales that chorus once again. It’s a stupendous close to a record that simultaneously revisits old haunts and builds new spaces in Mould’s music – finding solace and strength in both tasks.
Asked what he hopes listeners – both old and new – will find in Body of Song, Mould replies eagerly and without hesitation: “I think, if anything, people are going to find comfort in the record. How I know that is that I’m a lot more comfortable with myself and where I am. For a long time, I was angry, contrary and I’ve sort of let go of that. Because life is short and I know that now. My comfort comes through in the record.”
Übrigens: Das Album wird auch als Do-Vinyl-LP(180g Pressung) erscheinen, so, jetzt heißt es nur hoffen, daß „Body of song“ in D überhaupt rauskommt (s. a. aktuelle Stone-Ausgabe!)
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Saffer on myspace: http://www.myspace.com/stefansafferHabe neulich einen neuen Song gehört (vermutlich die erste Single des anstehenden Albums). Klang jedenfalls besser als der Mist von „Modulate“.
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If you try acting sad, you'll only make me glad.Clementine
Sept. 13 – Bürgerhaus Stollwerk – Kölnund auch hier wieder: juhuu!!
(schöner thread übringes, saffer. danke.)
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dagobertund auch hier wieder: juhuu!!
(schöner thread übringes, saffer. danke.)
Danke, ich freue mich immer über Gleichgesinnte in Sachen Mould/HüDü/Sugar!!! (Gibt es ja leider nicht – mehr- so viele!)
Wenn ich die Berichte lese, kann ich das Album, Bobs Stimme, sein sensationelles Gitarrenspiel (!!!), die neuen Songs kaum mehr erwarten!! LECHZ
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Saffer on myspace: http://www.myspace.com/stefansaffer
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