DIAZEPAM 0,5 (English)

SILENCE, THE BASS PLAYER IS TALKING:

2011-12-04T15:24:00.001Z

Well my friends, the title i've used for this post is a common expression in Portugal when someone is about to start singing our typical song, Fado - "Silence, someone is about to play Fado", it's a matter of respect.
This is a short interview i've made a couple of weeks ago with Andy Rourke, former Smiths bass player. I've made a lot of interviews in the past but it's always a milestone when you have the chance to do that with someone that was part of a gang (Andy's own words) that was also part of your life and it meat to you a lot. So, i'll share this short moment with all of you and i'm sure that on the other side of this screen someone too will share the same thoughts and will have a great time reading this lines with Andy, the Ex-Smiths, the bass player, the DJ but above all, the musician.

KING_LEER (KL):

As an introduction – as usual – I would like to knowwhat you’ve been up to in the last years. One of your major occupationsnowadays is being a DJ. You and your ex-band members spread the word “Hand theDJ” so, how come J ?

ANDY ROURKE (AR):

Firstly, I am not aDJ, I am and will always be a musician, DJ'ing is something I do for fun, itstarted as an accident at a DJ (musician) friend of mine's party in Manchester(Clint Boon, Inspiral Carpets) he asked me if I would like to jump up and spin sometunes one night, I said OK and I realized I actually enjoyed myself! Itcontinued from there.

(KL):

You are one of the most famous bass guitar players. Asa tutorial for those who are reading this interview, tell us exactly what is arhythm section in a band. Most people think that being a rhythm section meansthat can be easily replaceable. Is this true or one more “urban myth”? I’d liketo add my view also to this question. There are bands that you can clearlyidentify the drummer or bass player. For instance and using one example fromactual bands. Jared, from Kings of Leon, I could know if he was involved in thetune or not. Share your thoughts with us Andy:

(AR):

Hmm, I would saythat the rhythm section is the backbone of any band, they dictate the tempo,the feel. If you change them you change the whole dynamic of the band. Ofcourse they are replaceable, everybody is!! Regarding your question on"actual bands"

well… you would have to ask Jared! But me speakingfrom personal experience, I have always written my own bass lines and wouldn'tbe involved with a band who tried to tell me different. Me and Johnny met whenwe were 11 years old and started playing music together soon after, so we had avery close understanding of each other musically and also as friends , sothings happened very naturally with us.

(KL):

What bands are you following these days?

(AR):

I'm terrible whenit comes to naming bands! There are so many, so I won't go there, if I start Iwill have to name 50!!

I'm still busyworking through the music that happened before I was even born!

(KL):

Kevin Cummins also was kind enough to contribute to myblog a couple of years ago. I’ve got in front of me one 1985 Babylonpublication called “The Smiths in Quotes” with photos by Kevin. I don’t know ifyou recall but the book ends with your comments on five issues. I’ve chosen thisone. Would like to know if the answer is still the same:

Andy Rourke on……THE SMITHS : “We arethe best band in the world, there’s nobody better”. – I believe you have thesame opinion but since then, did anyone came close to your standards?

(AR):

Wow! Now you areputting me on the spot!

You know what? I think I stand by my bold statement,fuck it!

(KL):

I’ll end with a double question. First, what wasreally your moment with The Smiths? The song that had more from you – as amusician and composer? The other one is the tricky one……share with us somethingthat few people know about you and the Smiths.

(AR):

Another toughquestion, I am so proud of all my work in The Smiths, some stand out tunes forme? ……"The Queen Is Dead" title track, then "Barbarism Begins AtHome", "Bigmouth Strikes Again", "Sweet and tenderhooligan" for me the list goes on and on. I'm more proud about what we didtogether as four young people (The Smiths split when I was 23). We had a lot of things to deal with, and people trying to ruinus but we showed solidarity, we were a gang!

-The last question?Well!!! I think all of my skeletons are out of the closet, I lived my privatelife in public during those brief but wonderful years :o) )

THIS IS GRAEME PARK!

2011-11-13T18:47:00.001Z

THIS IS GRAEME PARK!

After this "short" absence there's nothingbetter then return with not one but two legends from old Albion, both fromManchester, one that rules over the decks, radio and music production and onethat rules over the bass lines. So, today i'll start with Graeme Park thelegendary DJ who i've met this year during one of our finest clubbing nights atCasa da Música, Porto.

I've booked Adam Ficek for that same clubbing night sowe met over the dinner. Two 'lads, two different generationsand one huge common skill: They both breathe music at higher rates!

KING_LEER (KL)

I’ll try to go through new subjects this time but, offcourse I’ll have to revisit some of your main achievements. This is one you’vealready answered before but what changed or what was the trigger for this newera on DJing?

GRAEME PARK (GP)

For me it was the early 80s electro stuff from the US.Afrika Bambaata, Jonzun Crew, Arthur Baker and John Robie productions. Theyreally stood out from the plethora of slick, well produced, beautifully sungsoul, funk and disco that was played in most clubs. This coupled with all ofthe extended 12” remixes of rock and pop tracks from the likes of New Order,Talking Heads, Orange Juice, ABC, Eurythmics etc. meant for an exciting time.Most successful DJs at the time used to use the mic to get a response from thecrowd but most people who were into new this music didn’t particularly want tohear a DJ talking nonsense just to get a reaction. This inevitably lead to DJslike me getting the chance to do our thing and it was our choice of tune thatgot a response.

I’ve always attended to some venue or club mainly if Iliked the music there – DJ resident or if some DJ I’ve heard good referencesabout was in town.

Forgive me as I am not - by any means – diminishingyour craft. This is because there’s in some cases some kind of adoration thatgoes behind trivial.

My early DJ residencies at The Garage in Nottinghamand The Haçienda in Manchester were amazing venues that catered for a varietyof people and tastes several nights of the week. But these, along with TheLeadmill in Sheffield, were the only places you could hear me play and by thelate 1980s, I was playing a lot of records that very few DJs had. So the onlyway to hear them was to come to one of my nights. The fact that I was DJing infantastic and established venues was a bonus.

How do you update your sounds and record collectionsnowadays? I don’t know if your share this thought with me but there is so manymusic available at the moment in many formats, many platforms that sometimes isa hard task. Besides your research what are your main sources? Do you haveanyone helping you targeting candidates for your record case?

I get hundreds of tracks emailed to me very week fromrecord companies, PR companies and artists themselves. It’s impossible tolisten to all of them, which is a shame. There are people and companies outthere who offer services where they listen to everything for you, but there isabsolutely no way I could ever trust anyone to make a decision on whether atrack is to my taste or not and I don’t understand DJs who let people do thisfor them. There are labels, artists, producers, DJs, A&R and promo peoplewho I admire, like and trust and so I will try and listen to their stuff assoon as I get it. However, there are probably loads of tracks that I might likethat just get lost in my Inbox that I might never hear. That’s a concern, butwith so much music around it’s a sad fact. I do try and make time to listen torandom tunes by unknowns but because so much of it is average or poor, thenit’s a difficult and often tedious task. On top of that I still like to buymusic and use Traxsource and Beatport but even using those sites can be likenegotiating a minefield. Where do you begin? One thing I do, which I’ve alwaysdone, is to try and check out tunes that aren’t being played by everyone else.In fact if everyone else is playing a track and it’s in all of the variouscharts, then I’ll probably try and avoid it and seek out something else that Ithink deserves similar attention. I’ve always done that and as a result havefound some amazing tunes and helped get the attention they deserve. I also likedigging deep into my huge vinyl record collection from time to time andrediscovering forgotten and obscure gems and giving them a new lease of life.That way, I get to play tunes that no-one else is.

The club scene is totally different here in Portugalbut tell me what was the most profitable period for you as a DJ? Probably thenineties? Any particular story you want to share with us about those days abouta performance or a special club?

The 1990s were just incredible. There were less clubsand not nearly as much choice as today. That meant people used to travel tohear DJ's rather than just go out locally. Music wasn’t as freely available astoday and it would take months for a record to become available after a DJstarted playing it. Today, you’re talking about hours.

Huge events with DJ's weren’t as common in the 90s asthey are today either. People take things for granted nowadays. I’ve had theprivilege and honour of playing in some amazing places over the years and inmany cases being the first UK DJ to do so.

This question, being a trivial one is it’sirresistible to me. It’s about Haçienda.

Off course you met some of the great characters fromManchester, regarding the pop scene, rave, madchester, etc. I’m listening toDurutti Column while making this interview. I’ll name someone and you’ll writewhatever comes to your mind, ok?

Tony Wilson – an inspirational figure who supported and encouraged me and others andsomeone who had great vision. Sadly missed.

New Order – Manchester’s greatest pop band ever. They were also extremelygroundbreaking and ahead of their time with their use of synthesisers andappreciation of dance music. Working with Arthur Baker was genius.

Peter Hook – a lovely man.

You’ve mentioned that you were teaching also at thepresent. Can you tell us where and what are you teaching?

I lecture at Glyndwr University in Wrexham, Wales. Iteach Music Production as part of a music engineering degree.

What is your opinion on the UK policy for musicstudies at general schools if there’s one consistent off course. The reason I’masking you this is because in my Country the music studies are almostinexistent.

There are specialist music schools and colleges in theUK which ultimately cost a lot of money to attend. This means that people withreal musical talent are excluded on the basis of cost. This is wrong.

Finally, a philosophical one : What is your vision onour actual World? Does it need some mixing, is it on 33 or 45 rpm?

I think our world definitely needs some remixing. I’dremove all the parts that lead to war, famine and poverty and add more peace,love and understanding. All on 12” vinyl spinning at 33 rpm of course.

Well, that’s all mate. Hope to see you soon around andI’m glad you liked House of Music venue. By the way define this venue in asentence:

House Of Music was superb. Wonderful venue with a cooland appreciative crowd.

THE END

Relevant Links to reach Grame Park:

http://thisisgraemepark.com

http://www.facebook.com/GraemeParkFanPage

http://www.myspace.com/graemepark

http://twitter.com/graemepark

http://www.mixcloud.com/graemepark

http://soundcloud.com/graemepark

I've been "out".....sorry

2011-10-04T00:16:00.002+01:00

Dear Friends,

Lately and due to professional reasons it has been impossible to keep running this blog as i wish.

So, in a few weeks i'll be back with more inside views and articles on our global music scenario.

Sorry for the absence.

Wish you all good tunes and bits.

Love

AUDIO AND VIDEO PLAYERS FROM THIS BLOG

2011-04-13T17:03:00.002+01:00

Hi folks,

I'll be back soon with more interviews. Just passing by to say that the audio and video players have changed recently not following the blog posts. The main reason is that i'm updating the Portugues version with some posts regarding connections between music and our internal crisis with testemonies from Portugues politicians and people culture related.

Be back soon.

Cheers

Luis

PETER HOOK - QUICK INTERVIEW - TRUTHS OR MYTHS ?

2011-03-10T22:55:00.003Z

In the last and excellent House of Music (Porto, Portugal) Clubbing i had the opportunity to chat briefly with Peter Hook. Initially i was not certain to get over the management but thanks to the domestic support that I had, I got there. We stayed in the dressing room door to exchange some words until the moment I mentioned him i had 3 / 4 quick questions about his career. I know the question was tricky but when he heard the word career he said, "... Well, you better go in mate" ...

And so, i transcribe below this brief dialogue that i hope can enrich your knowledge about this mythical figure of Manchester, on JoyDivision, New Order and even ..... the Durutti Column:

KING_LEER (KL):

About Ian Curtis and he playing guitar or not:

Peter, Ian played guitar (even slightly) in "Love Will Tear Us Apart. " It was a unique moment?

PETER HOOK (PH):

Yes, he played, as shown in the video. He played only in "Closer", on that track and two or three more, including "Incubation".

KL:

The New Order was perhaps the best example of a band that after losing their lead singer kept a level of success similar to that obtained with Joy Division. How did you choose Ian’s successor?

PH:

Do not forget the Genesis (ed: Yes, yes, but still a rare case).

After Ian’s death it was always our intention and I think it would also be the will of Ian too. As for the singer, the selection process was simple, as we all sang on the tests but you know what really happened? Bernard was the best on playing and singing at the same time so, he “won”.

KL:

Usually i try to find out some stories that hides behind a tune. Something special you wish to tell us about New Order ‘s "Blue Monday"? How a track like this one appears and specially for its duration?

PH:

The initial idea was to play this song at the encore. You know, we did not like encores and "Blue Monday" was created for this purpose, an instrumental tune when returning to the stage. Later, after some tinkering it finally got the sound we all now know (despite the many remixes that are already out there). We never thought it would become a topic of much success.

KL:

True or myth that you and the rest of the band helped to fold and prepare the edition of "The Return of the Durutti Column" on the premises of "Factory Records" at the request of Tony Wilson?

PH:

Yes, it is true. We were "invited" to do that hard work on the record you mention and two more, Durutti Column ‘s "Pieces For An Ideal" and the compilation "A Factory Sample". And, do you know how much Tony Wilson paid us? 50 pence per each 100 layers. Slave labor (laughs!).

KL:

Finally, what are the new bands that you hear nowadays? Manchester continues to be a true motherhood for great musical projects. Just last week we had here the "Hurts".

PH:

Manchester remains the same, it is a great musical city. The "Hurts "..... honestly I do not like them. I listen to "Everything everything"(very good), "Two Door Cinema Club" and "The Stowaways".

THE END

HERSHEL YATOVITZ - " I love my job !"

2011-01-16T18:02:00.005Z

This was one of the most peculiar interviews I’ve made until now. By the last months of 2009 I’ve tried to contact Hershel and after a couple of e-mails I was lucky enough to get his attention. So, as usual, questions were sent and……….that’s the odd thing, nothing happened until the 2010 4^th of July. It was a Sunday and I was having lunch with family at home. Suddenly the mail “rings” and it was Hershel. He was at the tour bus driving into Portugal from Spain. Chris Isaak would perform the next Monday at Cascais, south Portugal. Hershel was kind enough to reply to my initial questions (the ones you can read bellow) and invite me for the show. So, this is the story and the beginning of a non-stop trip from North to South to see Hershel and Chris in a great performance. I´ve got some miles on the show business but as I confessed to Hershel, it was a special night as I never saw Chris live and his music has a peculiar effect on myself so, I was a little bit nervous but, I was nice to meet them and Hershel is a great soul off and on stage. It was really a pleasure to be there.

I hope you enjoy the interview, even with the gap between questions and answers and that you learn a little more about music with Hershel´s words and find some interesting lines on Chris Isaak´s Wicked Game and the 20^th anniversary of this timeless tune.

King_leer

# 1 - On your new CD:

KING_LEER (KL):

I know you’ve got a CD out now. It's called "Hy Time". Talk to us about it, who's joined you in this project and how do you manage to finish it between the work with Chris last album, the shows and everything else.

HERSHEL YATOVITZ (HY):

HY Time was really fun to make. I picked some of my songs I think are uplifting but cool, and although it might sound corny, I just sort of let the songs tell me what to do each step of the way. I believe a song is finished when it stops "yelling at me" so much, so when they calmed down I knew it was ready for release. Each song has a very different feel; it just felt good that way. I have had a great response to it, and now a second album is in the works. I was blessed with some really great world class players who really kicked up the record many notches. Some live near me in Portland, Oregon, and some live in Los Angeles and sent a few tracks back and forth over the internet. It is so easy now; I can have my favorite session players go into a studio wherever they are and send tracks to me, and I can send guitar or bass tracks to them.

I do get some time off and I have a nicely equipped Pro Tools Studio at home where I work when I'm not out with Chris and the guys. I do production, mixing, and session tracking on guitar and bass for bands, singer/songwriters, etc. there. I have some overseas clients; we just send the files over the internet. It is a great time we live in with all of the options available. So it is easy to work on my own projects as well, it just takes some time to complete them since I work a lot with Isaak and others. I just completed the theme song and some others for a new film called Trooper, and the other artists on the soundtrack are Bob Dylan and Bruce Springsteen, I'm happy about that.

# 2 - On your teaching experience:

(KL):

I know you were a teacher before joining Silvertone. Is there a real advantage/difference between being a musician with college studies or not? Is it just a question of skills, you either have it or you don't?

(HY):

I think there are big differences, but there are pros and cons to either. I studied privately and then taught for years and wound up teaching Jazz at Stanford University, working with some very studied musicians and I wondered, "how did I wind up getting to work with these guys?” When you get down to it, it just depends on what type of work you want to do. Since I developed my ear playing lots of different styles in live performance settings without written music (other than occasional chord charts) I can 'fake' songs I have never heard before fairly well, and learn most anything I need to by ear. If I had gone through a traditional college education it would be much easier to learn complex written pieces, but my on-the-spot instincts might not be as well developed. And my whole musical path would also be very different since all of the influences you pick up in your daily life as a musician and the gigs you get create your path. I wish I had some of the literary knowledge I would have gotten if I had a degree, but then I'm sure I would be a completely different person artistically.

Regarding "either you have it or you don't", I believe there is always some qualities people shine at, and others not so much, so it's just a matter of finding your place in the world and being realistic about where your strengths truly lie. Beyond that, whatever makes you happy! I don't recommend choosing to be a musician as a career unless you just can't help yourself. In my opinion finding some joy in what you do every step of the way is essential. But music is a great hobby as well.

# 3 - On Working with Chris Isaak

(KL):

You work with Chris since 1995. You've travelled around the world with him playing and also acting on his TV series. As far as i know he is a very talented guy and above all (taking from his interviews) he has a great quality. He's very committed to his projects and his band mates. How it's really the day to day work with him? Does he writes almost all the songs or they are worked among all of you?

(HY):

Chris is a great guy with a vibrant personality, like the rest of the guys in the band. We generally get along quite well and laugh a lot, I'm happy to report! Chris writes the song melodies, chords and lyrics and the rest of us make up our parts on our respective instruments. Once in a while he will work with a producer out of town and use local musicians, so there are a few songs with other players on a couple of the records, but most of it is the band.

# 4 - On Wicked Game:

(KL):

I believe this song is making 20 years now. You're not in the band at the time. How many times did you played it? Have a clue?

Honest question for an honest answer: What's the sensation on playing it in so many shows? How does a musician feels about this. I know it's his job, he' a professional but honestly, do you get tired?

(HY):

Somehow I never get tired of playing it, or any of the other "must play" hits, I don't know why! I have recorded multiple versions and played it live, I don't know; let's say 200 times a year for 15 years? That is terrifying, thanks a lot, Luis! I guess I like it because there is always room for growth, and there is room for making a song 'my own' a little bit by playing it differently as I feel it. A song like Wicked Game is not suited for a lot of improvisation of course, but I do play it differently than the original, and a little differently every night. Other songs, well, we have a lot of room to be creative and have a great time interacting with each other. I am really glad I get to be in a real band, playing totally live music with no backing tracks. We get to really have a fresh and different show every night and still play some of the songs our fans really want to hear. When it is all live then every moment there is the possibility of magic or disaster, and that's where the human connection occurs between the audience and the artists.

# 5 - On Episodes:

(KL):

Tell us what was the strangest episode you had while on Tour with Chris Isaak?

(HY):

Oh, it seems like every day something crazy happens, sometimes truly absurd, I'm afraid to start... Well here's one: I have played in such extreme conditions, severe heat, rain, you name it. But one show in Vail, Colorado, USA really pushed the limit. It was supposed to be an outdoor celebration in the sun for the end of ski season, but a full on blizzard came through, pounding us with snow. The interesting thing about snow is that it does not care if there is a roof over the stage; it moves sideways covering everything and making the stage very slippery. We were the slipping snowman rock band with a crew of shovelers and sweepers on stage, hoping our numb fingers would land in the right place. A woman came on stage to dance and slipped towards the edge of the stage. I reached out my guitar and she grabbed it by the neck and I pulled her back up. And we don't stop our show for anything, so we played a long show. I played with gloves for a song, but my favorite part was watching the explosions each time a drum was hit. And the crowd was used to the snow and rocked out with us all the way. Another day at the office, I love my job!

THE END

Hershel's photo on this article by Mike Lloyd.

Relevant links:

http://www.hershelyatovitz.com/

http://chrisisaak.online.fr/english/us-band.htm

Kasabian - West Ryder Pauper Lunatic Asylum - The Producer - PART V

2010-12-19T23:58:00.004Z

With this post ends my contribution to better understand the work behind the last Kasabian’s record release. After the 2008 magnificent “Only By the Night” by Kings of Leon, in 2009 my choice was this West Ryder Pauper Lunatic Asylum. Now that 2010 is ending there’s undoubtedly some good records to explore. I hope you all liked it and what better to finish this study with the great Dan The Automator? Wish you all a Merry Xmas and a great 2011.

King_leer (KL):

We all know about your past work and if you take a look at some of the last Kasabian’s record reviews, almost everyone tries to point it out the tune that your presence is more – how shell i say – noticed. For instance at the NME’s review Hamish MacBain fires with “Take Aim”. Meanwhile, Serge Pizzorno tells in a interview that the sound on “Underdog” it’s a “...21^st century sounding tune. It’s one of the reasons we got Dan The Automator in to produce it.

So Dan, for you what is the track that you most identify with you and your background as a musician, producer, etc.

Dan The Automator (DTA):

actually I look more at the overall work as opposed to one song because it is the variety that makes up the style, but if I were to choose 1 I would probably say vlad

(KL):

What’s your role in the creative process as a producer in this record. For instance i’ve talked with the producers from the Kings of Leon record and you can figure that the band has a major important role on it, while by the other way, when talking to Stephen Street on the last/first Pete Doherty solo album i could also state that the producer had a major role on the final result.

Since Serge - although i don’t know him personally writes almost all the songs and i believe he follows up all of the creative process with great commitment. Tell us a little bit about this relation and how was is in “the field”.

(DTA):

Every song has different needs, some involve removing stuff must involve adding drums the goal is always to make the most of what everyone has to offer to make the best record possible. Sometimes it is listening to what serge wants to achieve and sometimes it is showing him a new place to take it.

There’s additional guitars, strings, piano, effects, percussion, samples, etc in this record.

Since the strings were recorded in other sessions, the other instruments were recorded stand alone or along with the band, like a live session.

the process is additive and things got recorded and added as needed.

(KL):

What was the strangest effect you used on a track from this record? What was the track that took you more time to produce - any special reason?

(DTA):

Varieties of tape echoes and other old esoteric gear was used to created some of the ambiance probably the oddest was the use of various old English farming tools.

(KL):

Finally, on you and your projects:

There’s something you said in the past that I really understand and have the same opinion:

“ I’ve followed people that don’t pay much attention to categorise music…..for me This will sound good is ok”. Is this the secret for you to work in a wide spectrum of different music styles?

(DTA):

I like a wide variety of music and appreciate the different strengths in the various genres. So when I make music any and everything can be a part of it. It is also probably why I am comfortable working in different musical styles.

(KL):

What are your next projects?

(DTA):

Working on a new record with a new girl (Pillow Fight).

Doing songs in this new movie called scott pilgrim.

I’m doing also one Asian pop record .

Finally, I’m setting up a world class Dj program/show series in San Francisco to showcase the top musical djs and further link them to musical band type situations. the first of the series will feature Dj Qbert.

Also will work in a couple other records but, too early to talk about.

THE END

Relevant links: http://www.myspace.com/dantheautomator

http://en.wikipedia.org/wiki/Dan_the_Automator

Kasabian - West Ryder Pauper Lunatic Asylum - The Mastering process - PART IV

2010-12-04T18:57:00.007Z

Howie Weinberg is a master on the mastering process. Worked on – as he stated – between 2,000 to 3,000 records since the early 80’s. From James Brown to U2 and Nirvana to Public Enemy, Glasvegas, and Gorillaz . In fact, Howie received in 1996 a TEC award for “best record production/single-track” for his work on the “Feel Good Inc,” masterpiece. He’s with Masterdisk since 1977.

His recent work with Kasabian was the reason for this quick phone conversation a little while ago. So, let’s read what the Master has to tell us about this record:

On Kasabian’s record:

King_leer (KL):

Who made the call for Kasabian’s new record?

Howie Weinberg (WB):

In fact it was Dan. Dan is the client as well as Sony, the label. We have a very close work relationship. I have a amazing studio set-up and that’s all. We work together for 10 years now in all kind of projects.

(KL):

When you are mastering (i believe) the producer or band members will ear the final result and then close the subject. How did it go with Kasabian’s record ? Who was following the process with you? It was Dan, the band or both? What kind of communication was in place between you and the producer/band?

(WB):

Dan and I knew very well what to do and what the band wanted. Although, the band had a great input, they were very proactive also. We sat down and start promptly the work. We had a very good mix.

On You

(KL):

Can you pick from all your discography the most difficult records you have worked in - technically speaking?

(WB):

Well, this is not a easy one but, here it goes:

Nevermind - Nirvana

Blood Sugar Sex Magik - Red Hot Chili Peppers

Pop – U2

It Takes A Nation Of Millions To Hold Us Back - Public Enemy

Relevant links: http://masterdisk.com/engineers/engineer.php?id=26&page=b

THE END

Kasabian - West Ryder Pauper Lunatic Asylum - The art of Design - PART III

2010-11-21T18:03:00.006Z

Well, now we reach to that part where everyone of us surely admires. Who never hold a LP, CD, K7, etc and observed the art work and was influence with some besides the musical content. For a better understanding on this task, I’ve asked Tom Skipp a couple of questions about his work on this record. I hope that – as I did – you all better understand the story and the real concept of this “West Ryder Pauper Lunatic Asylum”.

KING_LEER (KL):

To readers fully understanding, explain please to us what is the role of a graphic designer on a musical work like this one?

TOM SKIPP (TS):

A Graphic Designer's role can be very different on music projects. With Kasabian and this project I was very involved. When I joined the project there was a loose idea derived from the name of the album "West Ryder Pauper Lunatic Asylum". I began discussions with "WIZ" (Andrew Whiston) on how we could make this album feel like a collection of things that could've been found at the Asylum. WIZ had collected many images, objects and quotes as reference which led me to explore some surrealist concepts and also optical illusions. Also I looked at various ways to compile this apparently disparate collection of imagery. We then carried out the shoot, for which WIZ enlisted the help of costume designers and prop stylists. I also documented the day of shooting and took my own portraits of the band on an old Polaroid Land camera, some of which can be seen in the album art. When we had collected the imagery it then became my job to make things reality and deliver everything in a printable format to the record company. With Kasabian there were many different formats and surrounding marketing to deliver, my working hours became 24/7 during this time.

KL:

Who approached you in order to get along in this Kasabian's project?

TS:

I was contacted by the head of Creative at Sony UK. I was invited for a meeting unaware of what the project would be and then asked whether it would be a project that interested me and whether I could carry it out successfully. I think I was chosen due to the abnormal nature of the project and my history of working with people notorious for their unconventional working methods.

KL:

How was the creative process? How did it work? Did you received initial instruction from the band or management for the path they would like to follow? Tell us a little bit about the story of this work of art.

TS:

When I joined the process WIZ and Serge (Sergio Pizzorno) from the band had already been playing with concepts. There was not a strong visual direction from the record company but I kept them well informed throughout the process, making sure they were happy with the path we were taking. The creative direction came from WIZ and that was translated from the band. So I became the communication conduit between the record company and WIZ, but in this role I also had to translate what became our ideas into something tangible. It was not easy, as WIZ is a prolific Video Director so would be very busy during this time and neither of us had a permanent office, let's say the process was fluid.

KL:

From all Kasabian members who was the one that followed the creative process with more attention?

TS:

Serge took the most interest in the artwork, I don't think it's that the others didn't care what it looked like, I think they trusted him to take the lead. This was very refreshing as there appeared to be one decisive vision. I think that Serge also respects the people that were installed to carry out the work, he trusts WIZ and that trust was also given me. Serge was very open to our ideas and we were open to his. Compared to other projects this felt like a genuine creative collaboration.

KL:

I'll post also links to your website but as a final question tell me a little more about your background, future projects and how it was to work with Peter Saville?

TS:

I have worked in graphic design for 9 years. Starting at university where I did a very short placement at Form (http://www.form.uk.com/). Then I spent a summer at v23 with Vaughan Oliver and Chris Bigg. When I graduated from university I got a job at v23 and also with Peter Saville. I worked 2/3 days a week at each, neither of which are what I'd call 'normal' studios. I've meandered along many a path in between then and now, working at many different places including Big Active, Blue Source, Love, Gap and many others! Working with both Vaughan Oliver and Peter Saville gave me a great start. After working in London since graduation I moved to Paris in the summer of 2009 and have started to make working connections here, while also still working for clients in London. Paris is a new challenge firstly for language and then to build clients and working relationships, who knows what the future holds!

Relevant links: http://www.tomskipp.com/

THE END

"FOLLOW ME" ALSO ON FACEBOOK

2010-10-04T00:23:00.004+01:00

Hi,

While the third part of the work on the last Kasabian's record is not published, this time around design and graphics with Tom Skipp testimony (www.tomskipp.com/index.php?/new-work/kasabian-tour-brochure/), you can follow my suggestions and more through facebook using this link : facebook.com/LuisGraca.Kingleer.

Thanks,
King_leer