witchiewitchie Joined: Jun 16, 2007 Posts: 2678 Location: Canberra, AU | Re: News, articles, interviews, etc... Preview: Gary Lightbody on Snow Patrol gone wild by Ed Masley - Dec. 7, 2008 11:45 AM The Arizona Republic
A Hundred Million Suns is not the album Snow Patrol set out to make. That album would have been a wilder, more experimental ride. But as lead singer Gary Lightbody explains it, there are certain things about Snow Patrol's sound that can't be shaken off so easily. Like melody and honesty. And maybe he's OK with that. "That sort of reined in the record that was desperately shooting, trying to throw itself at the stars," he says. "It kept it earthbound at the very least. We were trying to make something much more wildly experimental, but I think it probably would have alienated a lot of people, to be honest. And I think that sets the standard for the next leap, the next record, that it'll hopefully constantly keep changing, even in increments." We spoke with Lightbody about the U.K. band's decision to record part of the album in Berlin, why he feels this may be their most complete work yet and how it felt to crack the Top 10 on the U.S. album charts. Question: You've said, "This is our most complete record by far." Answer: I think you learn every time you make a record, but also in between times too, especially when you're working with somebody like (longtime producer) Garret "Jacknife" Lee. His work doesn't begin and end in the studio. He's a good friend who pushes us. When we're on tour, he'll be phoning us up going, "Have you heard this record by this band?" Or, "Have you got some new songs to send me?" He's constantly keeping us aware of what's going on and what standard we should be at. And he's all the time working with bands like U2 and the Editors, Bloc Party, Weezer, R.E.M. He's learning every time he's away from us, too. And when he comes back, he's got a bunch of new ideas, new ways of working. So this time, the sort of collected knowledge that we had was just so much more vast than at any time. Q: Can you think of examples of artists Garret Lee told you to check out that went on to have an impact on the album? A: We were listening to a lot of Steve Reich, and his repetitive rhythmic kind of songs are at work on a lot of The Lightning Strike. And Miracle Fortress is a band that Garret turned me onto. Their record came out in 2007 but I've been listening to it all year this year. In a strange way, it's my record of the year, even though it wasn't out this year. And they had, I think, a profound impact on our record. They have a wonderful kind of woozy, dizzying feeling to the record and I hope that that sort of comes across on our record sometimes, too. Q: It's refreshing to talk to someone who doesn't pretend he creates in a vacuum. A: Oh God, we're influenced by music every day. Tonight, we're playing in Louisiana with two of my favorite bands, Death Cab for Cutie and Cold War Kids. I'm just absolutely stoked. Music is life. It's not a job. Q: You mentioned The Lightning Strike, the 16-minute, 18-second song that closes your new album . Was there any concern in the band that might be a little long? A: I don't think anyone batted an eye at it. It was just the way that this record was going that things like that were bound to happen. And not necessarily things like a 16-minute song. But just that anything could and more than likely would happen. Q: What inspired you to do part of the record in Berlin? A: I had Low and Heroes by (David) Bowie and The Idiot by Iggy (Pop) and U2's Achtung Baby, records that were recorded in Hansa Studio in Berlin, but I never really added them all up together. I knew that Lou Reed and Bowie and Iggy had their Berlin period, but the studio wasn't famous to me. I mean, I'd heard the name. I'm a music geek, not a technical geek. I tend to accidentally break machinery. So I generally avoid it. Not that I do it on purpose. I'm an accidental techno-destroyer. That's my code name for the CIA. I think all of us were excited to be going to Berlin and any preconceptions that we had, we were completely blown away. It's unbelievable. Relatively, it's a new city, since the wall came down in 1989. Q: So you didn't really record in the Berlin that Bowie and Lou Reed and Iggy recorded in. A: It would have been a vastly different place in the mid-'70s. And those records reflect that. They are sometimes claustrophobic and frightening. A song like Nightclubbing by Iggy is just light years ahead of its time, but it still gives this feeling of real tension. It's very unsettling. That's why I love it so much. That sort of place is no longer there, and thank God. It made some great music, but let's not forget what else was going on there, too. Q: So this is your first Top 10 album in the States. A: Honestly, the projections for this - and I don't pay much attention to record-company speak or whatever, demographics and all that sort of nonsense - but they said beforehand that we would be lucky to be in the Top 40 and then the mid-week came in and they said, "Oh well, maybe we'll be Top 20.' Then finally, it came in at No. 9 and everybody was just completely gobsmacked. A U.S. Top 10 is a big deal for any band. It's not like just because we don't live here we don't understand how big a deal it is. We're pretty American pop-culture savvy. Q: Does it seem harder for U.K. acts to crack the U.S. market than it used to be? A: I think it is hard for U.K. bands. Maybe not so much U.K. singers with big songs, like Leona Lewis or Duffy, or someone where they have a kind of glamorous identity outside of the music itself. They have the Us Weekly sort of identity and the music identity as well, so it's like they sort of are very visible. But a band like us, nobody knows what we look like. And we're not courting that, either. But it's really just music fans that are buying our records. There's not really anyone else out there buying our records, which is great to get a Top 10 record with only the passionate people buying it." http://www.azcentral.com/ent/music/articles/2008/12/07/20081207snowpatrol.html?&wired
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