Registered Dude
Rock n' Roll Doggie Band-aid
that's blender right? not the uncut mag
Daniel Lanois about NLOTH in Uncut magazine
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If you have answers, please help by responding to the unanswered posts.
SamuelSmeloc
War Child
Edgette
ONE love, blood, life
Right.
last unicorn
Blue Crack Addict
Could someone post the Uncut article or the link to it? Thanks.
Vlad n U 2
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Yeah, I think it was almost pointless to start a thread about an article that's not even gettin' posted. 
Lila64
Blue Crack Distributor
Here's a link to Uncut, but I couldn't find anything else
Uncut.co.uk - Magazine
Uncut.co.uk - Magazine
LyricalDrug
Rock n' Roll Doggie
Yeah, I think it was almost pointless to start a thread about an article that's not even gettin' posted.
Yes yes.
EPIC FAIL
Peterrrrr
New Yorker
Something that is way behind the times, lol. Here is a crappy picture of the short "review".
"Thier last album"
Galeongirl
Galeonbroad
"Thier last album"
Their last album = bomb.
Something that is way behind the times, lol. Here is a crappy picture of the short "review".
No this is not the article I was referring to. I'm talking about half a page, clearly labeled and, if I remember well, with a picture of Daniel Lanois. He didn't say anything spectacular or out of order, just elaborated a bit more on where and how they recorded.
I'll try to get back and be a bit more specific this aftenoon
Porni just tried to Google "Uncut" and a bunch of porn and
I mean! and Daniel Lanois, too
I think it's a fine thread. I'll go to the magazine stand and read up. I'll also check if they finally have the new Q magazine with U2!
That;s actually their description of TUF..."album of shimmering textures"
Uncut.co.uk - Music and Movies with something to say
shart1780
Rock n' Roll Doggie
There was no transition between those two... it was R&H!
Dorks.
Dorks.
Vlad n U 2
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This topic must get the lockage it deserves.
Hi, I bought Uncut on the way to work and have given the NLOTH preview a quick read. It’s a short interview with Lanois on the album.
He repeats some stuff already said before (president of the company, etc…), but adds some interesting tidbits:
- Larry used electronic drums in the original impro sessions (South of France and Fez) in order to participate more fully in the music while not leaving everybody else deaf with the volume of his drumming. Lanois says that this was a good way to improve communication while still being able to get unusual and powerful drum sounds. These electronic drums were meant to be sketches to be replaced by real drums, but quite a few of these drum tracks made it onto the album.
- He praises Edge’s new riffs, saying that they are different to what Edge has done before. He calls them “bottom riffs” and compares them to Rick James’ Superfreak.
- Finally, he says that the most important thing about the album are “the top melodies” and says that they are great (this then brings the “singing like a bird” quote).
I’m at work, so I can’t type it here word by word, but this is the main gist.
He is very positive on the album and he stresses that it does not sound like anything they've done before.
Santiago
He repeats some stuff already said before (president of the company, etc…), but adds some interesting tidbits:
- Larry used electronic drums in the original impro sessions (South of France and Fez) in order to participate more fully in the music while not leaving everybody else deaf with the volume of his drumming. Lanois says that this was a good way to improve communication while still being able to get unusual and powerful drum sounds. These electronic drums were meant to be sketches to be replaced by real drums, but quite a few of these drum tracks made it onto the album.
- He praises Edge’s new riffs, saying that they are different to what Edge has done before. He calls them “bottom riffs” and compares them to Rick James’ Superfreak.
- Finally, he says that the most important thing about the album are “the top melodies” and says that they are great (this then brings the “singing like a bird” quote).
I’m at work, so I can’t type it here word by word, but this is the main gist.
He is very positive on the album and he stresses that it does not sound like anything they've done before.
Santiago
Vlad n U 2
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Thanks a million Santiago! 
Finally somebody told us what it was all about.
Finally somebody told us what it was all about.
cdirani
War Child
Great bits on Larry. It was a nice move, hopefully, refreshing for his work.
An Cat Gav
Rock n' Roll Doggie Band-aid
Thanks Santiago.
Worst bit about the article was reading that No Doubt have a new album out! Gwen Stefani making music solo is bad enough, but now she's teamed up with those three other losers, oh crap!
Worst bit about the article was reading that No Doubt have a new album out! Gwen Stefani making music solo is bad enough, but now she's teamed up with those three other losers, oh crap!
SamuelSmeloc
War Child
Thank you very much, Santiago. Yes, everyone who listened to GOYB said something about the electronic drums sound.
Here is the Uncut Lanois interview
Daniel Lanois:
We started on it maybe a year and a half ago. [Brian] Eno and I went in from the initial chapters of the process. We've done work in France, Morocco, New York and London, a bit in Dublin.
Changing locations always gives youa good two-week fresh sprint, and a lot comes out of that. It makes for a nice change of scenery. We tried to deliver in June to release in November, and we missed that because things weren't finished. We were tired, so we took a week off.
There have been sonically inventive pivotal moments through U2's career. Achtung Baby was one. Not to draw a comparison to Achtung Baby, but I think the shift in sonics here is just as great. We have an appetite for innovation, and when you have Eno in the room you can't help but get new ideas thrown your way. So this project very early on had some quite dynamic sonic shifts that I'm proud of - there's something very different about this record, right up the spine.
We decided we wouldn't have acoustic drums early on, because we wanted Larry [Mullen] to be in our inner circle rather than in a booth. By having him play electronic drums, it allowed us to be physically close together while still having powerful, unusual drum sounds. They were only meant to be sketches, but some we fell in love with, so we decided not to replace them.
The beginning of this record was a free-for-all. We wanted to see what was happening in people's hearts and what would come out of jam sessions. So the first two, the french and Moroccan chapters, were very spontaneous. About a third of the way in, The Edge came in with some works he had started on his home studio, and some of those are part of this record.
[Lyrically] I think Bono is looking at the world through the eyes of a lot of travel, and compassion, and being the humanitarian that he is, and he's definitely embracing his own personal philiosophies on this record.
The Edge has come up with some great riffs, but they're very different. He has a few great bottom riffs, as I call them. If we could use a historical reference for bottom riffs, the [Rick James'] "Superfreak" would be one of them.
They've always had a good ear for anything special, but they're more advanced musicians than they were. Bono's singing is better than ever. He's a great, barrel chested Irish tenor. We're lucky to have him. Melody is important. If I cn use one of Bono's current terms, the top line melodies are celebrated. They're the ones you can hear across the street.
I'm hearing things on this record I've never heard from them, or from anybody else. More power to them for still having the appetite to reinvent rock'n'roll. And the president of the company is singing like a bird.
Daniel Lanois:
We started on it maybe a year and a half ago. [Brian] Eno and I went in from the initial chapters of the process. We've done work in France, Morocco, New York and London, a bit in Dublin.
Changing locations always gives youa good two-week fresh sprint, and a lot comes out of that. It makes for a nice change of scenery. We tried to deliver in June to release in November, and we missed that because things weren't finished. We were tired, so we took a week off.
There have been sonically inventive pivotal moments through U2's career. Achtung Baby was one. Not to draw a comparison to Achtung Baby, but I think the shift in sonics here is just as great. We have an appetite for innovation, and when you have Eno in the room you can't help but get new ideas thrown your way. So this project very early on had some quite dynamic sonic shifts that I'm proud of - there's something very different about this record, right up the spine.
We decided we wouldn't have acoustic drums early on, because we wanted Larry [Mullen] to be in our inner circle rather than in a booth. By having him play electronic drums, it allowed us to be physically close together while still having powerful, unusual drum sounds. They were only meant to be sketches, but some we fell in love with, so we decided not to replace them.
The beginning of this record was a free-for-all. We wanted to see what was happening in people's hearts and what would come out of jam sessions. So the first two, the french and Moroccan chapters, were very spontaneous. About a third of the way in, The Edge came in with some works he had started on his home studio, and some of those are part of this record.
[Lyrically] I think Bono is looking at the world through the eyes of a lot of travel, and compassion, and being the humanitarian that he is, and he's definitely embracing his own personal philiosophies on this record.
The Edge has come up with some great riffs, but they're very different. He has a few great bottom riffs, as I call them. If we could use a historical reference for bottom riffs, the [Rick James'] "Superfreak" would be one of them.
They've always had a good ear for anything special, but they're more advanced musicians than they were. Bono's singing is better than ever. He's a great, barrel chested Irish tenor. We're lucky to have him. Melody is important. If I cn use one of Bono's current terms, the top line melodies are celebrated. They're the ones you can hear across the street.
I'm hearing things on this record I've never heard from them, or from anybody else. More power to them for still having the appetite to reinvent rock'n'roll. And the president of the company is singing like a bird.
Lila64
Blue Crack Distributor
Thanks for posting that
Varitek
Blue Crack Addict
Something that is way behind the times, lol. Here is a crappy picture of the short "review".
that is the dumbest "review" i have ever read.
ETA: thanks for posting the Uncut review. It definitely adds to my excitement, and I'm intrigued by the electronic drums
Dalton
Blue Crack Addict
I want to know why Danny is talking to the gentile magazine in the first place.
Rob33
Rock n' Roll Doggie
LyricalDrug
Rock n' Roll Doggie
Wow, lots of electronic drums! Trippy
LyricalDrug
Rock n' Roll Doggie
From Wikipedia:
Artists who use electronic drums
* Rick Allen (drummer) of Def Leppard 1985 - present: customized kit built by Simmons (electronic drum company) - included drum pads (placed primarily in front of Allen and to his right) triggering the sound of the snare drum and toms, to be played with his surviving arm, combined with multiple pedals (mainly placed on the floor to his left) duplicating many of the same sounds.
* Danny Carey (Tool) – several Mandala and Simmons drums
* Tim Alexander (Primus)
* Bill Bruford in (King Crimson) and (ABWH)
* Igor Cavalera (Sepultura)
* Sean Reinert (Cynic)
* Travis Barker on new Plus 44 album
* Hal Blaine session drummer Pollard Syndrum
* Phil Collins (Genesis) – Simmons kit on Genesis and Invisible Touch albums
* Rocky Gray (Evanescence) – Wirges kit
* David Kennedy (Angels & Airwaves) on Angels & Airwaves 2008 Tour.
* Nick Mason (Pink Floyd)Pollard Syndrums
* Tats Faustino
* Roger Taylor - Queen
* Wolfgang Flur, {Karl Bartos} {Kraftwerk} world's first manual electronic drum kit, 1973.
* Neil Peart (Rush)
* Mike Portnoy (Dream Theater – triggered kick, snare, and toms used on Images and Words)
* Christoph Schneider (Rammstein) – Hybryd Drum set During Herzeleid and Sehnsucht era
* Stuart Elliott (The Alan Parsons Project) – Simmons kit
* Akira Jimbo
* Mickey Dolenz: During the Monkees' mid 90s reunion tour
* Alan White of Yes
* Stephen Morris (New Order & Joy Division)
* Bill Rieflin (Ministry , Revolting Cocks , KMFDM & R.E.M)
* Alex Van Halen Prominently used on the 1984-For Unlawful Carnal Knowledge albums and tours (and can be seen in music and live videos during that era, Alex has since gone back to acoustic drums.
* Keith Moon (The Who) Pollard Syndrum
* Jay Moore (Primal State) – Reality Resistant EP
* Alan Myers (DEVO) – Synare drum pads
* Alan Wilder (Depeche Mode)
* Colm Ó Cíosóig (My Bloody Valentine) on the Loveless album.
* Warren Cann (Ultravox) An electronic percussion pioneer who made extensive use of the instruments on the albums, Vienna, Rage In Eden, Quartet, and Lament.
Artists who use electronic drums
* Rick Allen (drummer) of Def Leppard 1985 - present: customized kit built by Simmons (electronic drum company) - included drum pads (placed primarily in front of Allen and to his right) triggering the sound of the snare drum and toms, to be played with his surviving arm, combined with multiple pedals (mainly placed on the floor to his left) duplicating many of the same sounds.
* Danny Carey (Tool) – several Mandala and Simmons drums
* Tim Alexander (Primus)
* Bill Bruford in (King Crimson) and (ABWH)
* Igor Cavalera (Sepultura)
* Sean Reinert (Cynic)
* Travis Barker on new Plus 44 album
* Hal Blaine session drummer Pollard Syndrum
* Phil Collins (Genesis) – Simmons kit on Genesis and Invisible Touch albums
* Rocky Gray (Evanescence) – Wirges kit
* David Kennedy (Angels & Airwaves) on Angels & Airwaves 2008 Tour.
* Nick Mason (Pink Floyd)Pollard Syndrums
* Tats Faustino
* Roger Taylor - Queen
* Wolfgang Flur, {Karl Bartos} {Kraftwerk} world's first manual electronic drum kit, 1973.
* Neil Peart (Rush)
* Mike Portnoy (Dream Theater – triggered kick, snare, and toms used on Images and Words)
* Christoph Schneider (Rammstein) – Hybryd Drum set During Herzeleid and Sehnsucht era
* Stuart Elliott (The Alan Parsons Project) – Simmons kit
* Akira Jimbo
* Mickey Dolenz: During the Monkees' mid 90s reunion tour
* Alan White of Yes
* Stephen Morris (New Order & Joy Division)
* Bill Rieflin (Ministry , Revolting Cocks , KMFDM & R.E.M)
* Alex Van Halen Prominently used on the 1984-For Unlawful Carnal Knowledge albums and tours (and can be seen in music and live videos during that era, Alex has since gone back to acoustic drums.
* Keith Moon (The Who) Pollard Syndrum
* Jay Moore (Primal State) – Reality Resistant EP
* Alan Myers (DEVO) – Synare drum pads
* Alan Wilder (Depeche Mode)
* Colm Ó Cíosóig (My Bloody Valentine) on the Loveless album.
* Warren Cann (Ultravox) An electronic percussion pioneer who made extensive use of the instruments on the albums, Vienna, Rage In Eden, Quartet, and Lament.
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