This brings our week of comments to an end - hopefully you've enjoyed / endured / bothered reading the comments.
So, as you might have gathered by now, the new single is called The End. It will contain, among other delights, the brand new Ostkreuz remix of the track of the same name, and will be released very shortly.
The End was originally written in Spain, in summer 2004, but it seems to have somehow avoided having castanets in it. The other thing it doesn't have is very many words - in fact there are only 85 in total. Somehow, and rather astonishingly, despite this (or perhaps because of this) it's one of my favourite tracks on Dusk.
One of the comments we got back about the track seemed to suggest it sounded like Kraftwerk, which to be honest we could never really see, but it was rather flattering anyway. So we decided to try a Deutsche Mix approach, which wasn't entirely successful (it still sounds nothing like Kraftwerk), but it's a nice new approach nonetheless.
Although the single's called The End, that's only one of the tracks on there, but somehow this seemed to be the best name for it (even if it's a joke we seem to keep reusing!) News about exactly what the rest of the single entails will follow as soon as we've come to a final decision!
Hypernova are a synthpop duo from the UK, and here are some things which they have said:
Friday, December 21, 2007
Thursday, December 20, 2007
Hidden Context
Oh, the delicious irony.
Because of course, a "hidden context" is the one thing that this track doesn't have. Or, come to that, a hidden meaning, which might have been a better name for the track anyway.
Well, the slight lack of meaning aside, there are some quite fun lyrics on Hidden Context, which in some ways echo a number of tracks off our first couple of tracks. And we definitely owe a debt to Sparks for some of the inspiration.
Certainly, the whole thing was thrown together very quickly (well, relatively speaking - we're probably talking weeks rather than the usual months or years!) It's tempting to wonder how it ended up on the album, but if nothing else it provides some light relief between Signs of Life and Perfect Geometry.
Because of course, a "hidden context" is the one thing that this track doesn't have. Or, come to that, a hidden meaning, which might have been a better name for the track anyway.
Well, the slight lack of meaning aside, there are some quite fun lyrics on Hidden Context, which in some ways echo a number of tracks off our first couple of tracks. And we definitely owe a debt to Sparks for some of the inspiration.
Certainly, the whole thing was thrown together very quickly (well, relatively speaking - we're probably talking weeks rather than the usual months or years!) It's tempting to wonder how it ended up on the album, but if nothing else it provides some light relief between Signs of Life and Perfect Geometry.
Wednesday, December 19, 2007
My Light
As far as I can remember, we never talked about putting My Light on the album, and I'm not entirely sure why not. Whether or not it would have worked is another question, but maybe we should have tried it just in case...
So when we were offered the chance to submit a track for the Electraparade compilation, we decided to go for this, because it was new; because we liked it; and because it didn't seem to have a place. And then we ended up putting it on the b-side to Consequences as well, and that was probably because we were a bit short on other completed tracks, although I don't really remember right now.
When we wrote it, it was another case of a line just dropping into my head (the bit about 'my light in the darkness'), which normally means I've accidentally stolen it off someone, although I think this was relatively original. Although I was very worried that it would end up being too soppy for a long time, but I think I rescued it in the end.
Perhaps more interestingly, the music is inspired by Hallowed Ground by Erasure. Which, when you consider that Empires b-side Fateful Hour was inspired by Imagination, means The Innocents has been responsible for a disproportionate amount of inspiration in recent years. Especially given that it's not even their best album.
So when we were offered the chance to submit a track for the Electraparade compilation, we decided to go for this, because it was new; because we liked it; and because it didn't seem to have a place. And then we ended up putting it on the b-side to Consequences as well, and that was probably because we were a bit short on other completed tracks, although I don't really remember right now.
When we wrote it, it was another case of a line just dropping into my head (the bit about 'my light in the darkness'), which normally means I've accidentally stolen it off someone, although I think this was relatively original. Although I was very worried that it would end up being too soppy for a long time, but I think I rescued it in the end.
Perhaps more interestingly, the music is inspired by Hallowed Ground by Erasure. Which, when you consider that Empires b-side Fateful Hour was inspired by Imagination, means The Innocents has been responsible for a disproportionate amount of inspiration in recent years. Especially given that it's not even their best album.
Tuesday, December 18, 2007
In the Moonlight
If Dusk is our autumnal album, In the Moonlight is definitely the most autumnal track on it, and in a way defines the mood of the whole album.
For a long time, I kept a list of 'good titles' for inspiration (I suppose this habit stopped when I realised it was a bit silly to write a whole song around the title, although it means we now have the problem that we can never think of titles for songs). One of these was 'The Devil in Winter', and there were probably some others here as well.
From that blossomed a slightly confused track. I have a habit, or rather had a habit when I was writing the lyrics for Dusk in particular, of using the second verse to turn the song on its head, and this is an example of this. At the beginning the narrator is clearly having trouble understanding, but the blame is placed at the feet of the person the song is being sung to, whereas by the time the second verse comes around, the truth is starting to dawn. And I think by the last bridge, the explanation has been found.
It's always fascinated me that a song consists of maybe twenty or thirty lines, with no more than 150 or 200 words altogether, and yet somehow in that you have to try to find a way of telling a story. Well, unless you're just stringing random words together, of course. But that's a story for another day.
Sadly though, neither of us remembers an awful lot about writing it, so we haven't got much more to say here...
For a long time, I kept a list of 'good titles' for inspiration (I suppose this habit stopped when I realised it was a bit silly to write a whole song around the title, although it means we now have the problem that we can never think of titles for songs). One of these was 'The Devil in Winter', and there were probably some others here as well.
From that blossomed a slightly confused track. I have a habit, or rather had a habit when I was writing the lyrics for Dusk in particular, of using the second verse to turn the song on its head, and this is an example of this. At the beginning the narrator is clearly having trouble understanding, but the blame is placed at the feet of the person the song is being sung to, whereas by the time the second verse comes around, the truth is starting to dawn. And I think by the last bridge, the explanation has been found.
It's always fascinated me that a song consists of maybe twenty or thirty lines, with no more than 150 or 200 words altogether, and yet somehow in that you have to try to find a way of telling a story. Well, unless you're just stringing random words together, of course. But that's a story for another day.
Sadly though, neither of us remembers an awful lot about writing it, so we haven't got much more to say here...
Monday, December 17, 2007
I Have Never
The second track on Dusk is I Have Never, which has the unusual claim of being the only track we've ever written (as far as I can remember, anyway), where Simon has told me to write more lyrics. It started with two verses, and ended up with four. Does it feel too drawn out because of that? You decide...
Its other claim to fame is that it contains an entirely unintentional reference to Merry Christmas (War is Over). Can you guess what it is?
Anyway, obviously the name comes from the popular (?) drinking game of the same name, which is a very good tool for getting to know complete strangers very quickly, and in a very short space of time. Hence the introspective lyrics, which I'm probably being much too cagey about here.
And continuing the drinking theme, the sound of the song is built around samples from Absynth. The synth though, not the drink. Which makes you go mad, anyway.
Its other claim to fame is that it contains an entirely unintentional reference to Merry Christmas (War is Over). Can you guess what it is?
Anyway, obviously the name comes from the popular (?) drinking game of the same name, which is a very good tool for getting to know complete strangers very quickly, and in a very short space of time. Hence the introspective lyrics, which I'm probably being much too cagey about here.
And continuing the drinking theme, the sound of the song is built around samples from Absynth. The synth though, not the drink. Which makes you go mad, anyway.
Sunday, December 16, 2007
Signs of Life
Signs of Life was actually a fairly late addition to the album. With a couple of exceptions discussed previously, we started writing tracks for what would eventually become Dusk in 2004, and somehow, due to other commitments, it ended up taking around two and a half years to complete.
By late 2005, most of the tracks were written, and in many cases already recorded in their final form, but for whatever reason we held back, making minor tweaks, until it eventually surfaced at the end of 2006. The proposed 2005 track listing wasn't even all that different: Hidden Context hadn't made it on, and Consequences hadn't been written yet, and a couple of more uptempo (and distinctly out of place) tracks were included instead: Running with the Wind and soon-to-be-released Heaven Only Knows. Apart from those, it was almost identical.
By that stage, Signs of Life was already complete (subject to a minor remix in late 2006), but it hadn't cemented itself as one of our favourites, and so was largely ignored. Which is ironic, given that it has since become one of my favourite tracks on the whole album. But at the last minute, we decided to remove The Healing, and put this on instead.
The track is actually mainly Simon's work, from, by his account, a stream of fairly meaningless random words. But for me it struck a chord - in autumn 2004, I moved to an anonymous northern city, and that seemed to me to be exactly what the song was about. There seems to be a strong feeling of claustrophobia, and of being lost in the crowds.
Our 2001 album Ephemeris included a track called Age of Ignorance, which is fairly similar in terms of mood and subject matter - although, given its era, it's probably a lot more pretentious. And many of the sounds on the final version are sampled from Simon's old Yamaha keyboard, which we used a lot on our late 1990s albums Prophecies and Odyssey, which all makes for a strong mix of past and present.
By late 2005, most of the tracks were written, and in many cases already recorded in their final form, but for whatever reason we held back, making minor tweaks, until it eventually surfaced at the end of 2006. The proposed 2005 track listing wasn't even all that different: Hidden Context hadn't made it on, and Consequences hadn't been written yet, and a couple of more uptempo (and distinctly out of place) tracks were included instead: Running with the Wind and soon-to-be-released Heaven Only Knows. Apart from those, it was almost identical.
By that stage, Signs of Life was already complete (subject to a minor remix in late 2006), but it hadn't cemented itself as one of our favourites, and so was largely ignored. Which is ironic, given that it has since become one of my favourite tracks on the whole album. But at the last minute, we decided to remove The Healing, and put this on instead.
The track is actually mainly Simon's work, from, by his account, a stream of fairly meaningless random words. But for me it struck a chord - in autumn 2004, I moved to an anonymous northern city, and that seemed to me to be exactly what the song was about. There seems to be a strong feeling of claustrophobia, and of being lost in the crowds.
Our 2001 album Ephemeris included a track called Age of Ignorance, which is fairly similar in terms of mood and subject matter - although, given its era, it's probably a lot more pretentious. And many of the sounds on the final version are sampled from Simon's old Yamaha keyboard, which we used a lot on our late 1990s albums Prophecies and Odyssey, which all makes for a strong mix of past and present.
Saturday, December 15, 2007
Bulletproof
It's very nearly a year since Dusk was completed, and we're very close to finishing the project as a whole (an announcement about the final single will follow, hopefully in the next week or so, although we've not entirely decided what's going to be on it yet). However, the track-specific comments have ground to a halt somewhat, so I have formulated a cunning plan.
And it is this: every day for the next week, I shall add comments about another track. That will still leave us with a few more for the new year, but it will help clear the backlog, and it might help put somebody in the mood for the new single when it eventually surfaces. So, here goes...
Bulletproof was started in early 2004, not long after Empires was released. It was a track that we were both very fond of, so an obvious choice for the album. It is, however, another case of coming up with an idea for a song, and flogging it entirely to death by using the metaphor in every single line.
It's always reminded me a little bit of Depeche Mode in style. They probably wouldn't have gone quite so over the top, but top marks to Simon for avoiding using gunshot samples at any stage of the production.
The idea of remixing Bulletproof came about very simply: I was never happy with the mastering of the album version, and I wanted to have another go. In the end, I didn't: in the summer, Simon remixed it to create what would become the Kevlar mix instead.
At the same time, I'd been playing with some ideas for a remix which essentially borrowed the bass line from a certain successful 80s hit which should probably remain nameless. Unfortunately, this wasn't really going anywhere, so I passed it over to Simon, who carried out a very impressive rescue job, and created the Western mix.
And it is this: every day for the next week, I shall add comments about another track. That will still leave us with a few more for the new year, but it will help clear the backlog, and it might help put somebody in the mood for the new single when it eventually surfaces. So, here goes...
Bulletproof was started in early 2004, not long after Empires was released. It was a track that we were both very fond of, so an obvious choice for the album. It is, however, another case of coming up with an idea for a song, and flogging it entirely to death by using the metaphor in every single line.
It's always reminded me a little bit of Depeche Mode in style. They probably wouldn't have gone quite so over the top, but top marks to Simon for avoiding using gunshot samples at any stage of the production.
The idea of remixing Bulletproof came about very simply: I was never happy with the mastering of the album version, and I wanted to have another go. In the end, I didn't: in the summer, Simon remixed it to create what would become the Kevlar mix instead.
At the same time, I'd been playing with some ideas for a remix which essentially borrowed the bass line from a certain successful 80s hit which should probably remain nameless. Unfortunately, this wasn't really going anywhere, so I passed it over to Simon, who carried out a very impressive rescue job, and created the Western mix.
Wednesday, November 07, 2007
Catching Up
Well, as promised, a handful of new tracks are slowly making their way onto the download sites, including Bulletproof (western mix) and Lose Control from our latest single, as well as My Light from Electraparade.
Recently we've been working on the ninth album, which we're hoping will be complete early next year. We've got about twenty tracks in progress, and we're currently working out which of those to concentrate on.
We've also been plodding on with the next single / EP / whatever it actually ends up being. Thus far, we've got four new tracks and another remixed track from Dusk in progress. I need to record some more vocals; and then we might have something worth releasing.
If that weren't enough, we've also been remixing Marsheaux's version of New Order's Regret for a remix competition. Details, and possibly a downloadable version, will follow at some stage in the future.
And that's about it really. A bit boring, maybe, but that's where we've got to...
Recently we've been working on the ninth album, which we're hoping will be complete early next year. We've got about twenty tracks in progress, and we're currently working out which of those to concentrate on.
We've also been plodding on with the next single / EP / whatever it actually ends up being. Thus far, we've got four new tracks and another remixed track from Dusk in progress. I need to record some more vocals; and then we might have something worth releasing.
If that weren't enough, we've also been remixing Marsheaux's version of New Order's Regret for a remix competition. Details, and possibly a downloadable version, will follow at some stage in the future.
And that's about it really. A bit boring, maybe, but that's where we've got to...
Sunday, October 21, 2007
Single news
Yes, it's that time again.
Here is Bulletproof:
The tracks we've chosen this time are as follows:
There are also three previously unreleased tracks, all of which have very long histories: Fallen was started in early 2002; Lose Control started life in late 2003; and House of Cards was even considered for inclusion on Empires over four years ago. They've all been revisited since then, and we're actually really pleased with how they ended up sounding.
To prove how not bad some of these are, downloads will be available from the normal sites in the near future.
We've decided there will definitely be a fourth single, which we will try to throw together by the end of the year. At the very least it will be a double a-side containing a couple of our favourite tracks which didn't quite make Dusk; at best it might be an EP, or even a mini-album - anything could happen! We've got some new (old) songs to record; and one more track from Dusk that we want to try remixing. Time will tell, and we'll put up more details once we actually know ourselves!
And then we'll be all ready and rearing to start 2008 and the ninth album...
Here is Bulletproof:
The tracks we've chosen this time are as follows:
- Bulletproof (western mix)
- Fallen
- Lose Control
- House of Cards
- Bulletproof (kevlar mix)
There are also three previously unreleased tracks, all of which have very long histories: Fallen was started in early 2002; Lose Control started life in late 2003; and House of Cards was even considered for inclusion on Empires over four years ago. They've all been revisited since then, and we're actually really pleased with how they ended up sounding.
To prove how not bad some of these are, downloads will be available from the normal sites in the near future.
We've decided there will definitely be a fourth single, which we will try to throw together by the end of the year. At the very least it will be a double a-side containing a couple of our favourite tracks which didn't quite make Dusk; at best it might be an EP, or even a mini-album - anything could happen! We've got some new (old) songs to record; and one more track from Dusk that we want to try remixing. Time will tell, and we'll put up more details once we actually know ourselves!
And then we'll be all ready and rearing to start 2008 and the ninth album...
Sunday, September 16, 2007
Oh yes, I remember
"Some news will follow in a bit," I said.
OK, that was a lie.
So then it was September, and Autumn was almost upon us. It would be easy to pretend that we'd spent the summer eagerly beavering away at new material, but that would be another lie. In fact we've both been far too busy enjoying the nice weather. And the rubbish weather, of which there has been quite a lot this summer.
So, here's a roundup of the latest news, in no particular order:
I have been finishing lyrics and starting to record vocals for the not-very-forthcoming ninth album. I'm really pleased with the direction it's taken so far, and I think we both hope to have it finished much more quickly this time, maybe early next year. There's a lot still to do, but we've also got a lot done already, so things are looking up. Rejoice.
For some months I have been about to try and remix Bulletproof for a possible future single, but never seem to get around to it. It will happen eventually. At some point, we'd like to do at least one more single from Dusk, possibly two if we can manage it. OK, here's a promise: I'll try and blitz said remix in the next couple of weeks, so we can have a single ready within the next month or so. Of course, whether that's a promise in the New Labour sense remains to be seen.
Simon did a really good remix of Erasure's track When a Lover Leaves You, the original version of which appears on their not-particularly-good new album Light at the End of the World. He has rather generously called it the Hypernova Remix, even though my involvement was limited to saying "Well done," in a very patronising voice when I heard it. I've just spent ages searching the website, and finally managed to find the page where it's posted here. Scroll down a bit. Keep scrolling... we're number 148 on the list. I think you'll agree that it sounds more like Erasure than the original.
Electraparade can now be bought for real dollars. If you have a bit of spare cash-money, click on one of the links on Electraset's MySpace page there. Someone had even singled out our track My Light as one of their favourites, which is all the more impressive given that we don't wear nice hats or do songs about Hoovers. So thankyou.
I've been for lots of nice bike rides around the Yorkshire countryside, averaging a little under 100 miles a week in recent weeks, and I'm hoping if I pretend to be really enigmatic and German, we might one day turn into Kraftwerk. The other positive thing would be that we'd only release an album every decade or two, which I'm sure would be preferable for most people.
Also, Bruce Parry's Tribe and Michael Palin's new series are both extraordinarily good. Are you actually interested in what I'm saying here? What's that? It's more interesting than going on about music? Yes, probably...
Right, that's enough for now. Some more news will follow. In a bit. Possibly.
OK, that was a lie.
So then it was September, and Autumn was almost upon us. It would be easy to pretend that we'd spent the summer eagerly beavering away at new material, but that would be another lie. In fact we've both been far too busy enjoying the nice weather. And the rubbish weather, of which there has been quite a lot this summer.
So, here's a roundup of the latest news, in no particular order:
I have been finishing lyrics and starting to record vocals for the not-very-forthcoming ninth album. I'm really pleased with the direction it's taken so far, and I think we both hope to have it finished much more quickly this time, maybe early next year. There's a lot still to do, but we've also got a lot done already, so things are looking up. Rejoice.
For some months I have been about to try and remix Bulletproof for a possible future single, but never seem to get around to it. It will happen eventually. At some point, we'd like to do at least one more single from Dusk, possibly two if we can manage it. OK, here's a promise: I'll try and blitz said remix in the next couple of weeks, so we can have a single ready within the next month or so. Of course, whether that's a promise in the New Labour sense remains to be seen.
Simon did a really good remix of Erasure's track When a Lover Leaves You, the original version of which appears on their not-particularly-good new album Light at the End of the World. He has rather generously called it the Hypernova Remix, even though my involvement was limited to saying "Well done," in a very patronising voice when I heard it. I've just spent ages searching the website, and finally managed to find the page where it's posted here. Scroll down a bit. Keep scrolling... we're number 148 on the list. I think you'll agree that it sounds more like Erasure than the original.
Electraparade can now be bought for real dollars. If you have a bit of spare cash-money, click on one of the links on Electraset's MySpace page there. Someone had even singled out our track My Light as one of their favourites, which is all the more impressive given that we don't wear nice hats or do songs about Hoovers. So thankyou.
I've been for lots of nice bike rides around the Yorkshire countryside, averaging a little under 100 miles a week in recent weeks, and I'm hoping if I pretend to be really enigmatic and German, we might one day turn into Kraftwerk. The other positive thing would be that we'd only release an album every decade or two, which I'm sure would be preferable for most people.
Also, Bruce Parry's Tribe and Michael Palin's new series are both extraordinarily good. Are you actually interested in what I'm saying here? What's that? It's more interesting than going on about music? Yes, probably...
Right, that's enough for now. Some more news will follow. In a bit. Possibly.
Saturday, July 21, 2007
Beneath the Silent Skies
This is a song dating back to some time in 2004, and it's really just about enjoying the little things in life. The basic premise is this: if you close your eyes, you can find heaven anywhere. Even in Yorkshire. Anyway, we had some trouble shoe-horning the title into the lyrics somewhere, but it seems to work. It's not my best vocal performance ever, and really the song might have worked better if I'd made a better job of singing it, but that's the way it goes sometimes.
It's actually not changed an awful lot since the original demo. It started off life trying to be electro, and probably ended up a lot more gentle than Simon intended. Then, in summer 2005, we came back and remixed it, although we didn't change much except the drums. At the same time I had a vague idea that we should do a prog rock extended version, where it just disappeared into an entirely unrelated instrumental section, and thus Part 2 was born. Initially, it was an extended version, but Simon took it apart, and we never found a good enough reason for putting it together again, and there you have it really.
Some news will follow in a bit.
It's actually not changed an awful lot since the original demo. It started off life trying to be electro, and probably ended up a lot more gentle than Simon intended. Then, in summer 2005, we came back and remixed it, although we didn't change much except the drums. At the same time I had a vague idea that we should do a prog rock extended version, where it just disappeared into an entirely unrelated instrumental section, and thus Part 2 was born. Initially, it was an extended version, but Simon took it apart, and we never found a good enough reason for putting it together again, and there you have it really.
Some news will follow in a bit.
Sunday, July 08, 2007
The difficult second single
Oh look, it's Beneath the Silent Skies!
That's our new single, available on Monday from no good record stores, even Woolworth's.
It contains five tracks:
This time round, you don't get any exclusive downloads, because although demo versions of the second and third tracks do exist, they're really not terribly good. No, instead, you can download either (or both) of the first two tracks, and enjoy (or endure) them in your own time. Then, if you like them, you can send us lots of money, and we might send you the other three tracks on a 'compact disc', if you can remember those things from the olden days.
The main site is here: www.hypernova.org.uk - why not tell a friend?
Expect the marginally less difficult third single in September, or thereabouts.
That's our new single, available on Monday from no good record stores, even Woolworth's.
It contains five tracks:
- Beneath the Silent Skies
- Point of no Return
- Running with the Wind
- Beneath the Silent Skies (part 2)
- The Healing
This time round, you don't get any exclusive downloads, because although demo versions of the second and third tracks do exist, they're really not terribly good. No, instead, you can download either (or both) of the first two tracks, and enjoy (or endure) them in your own time. Then, if you like them, you can send us lots of money, and we might send you the other three tracks on a 'compact disc', if you can remember those things from the olden days.
The main site is here: www.hypernova.org.uk - why not tell a friend?
Expect the marginally less difficult third single in September, or thereabouts.
Friday, June 08, 2007
Electraparade
Oh, two posts in one night. Aren't you lucky? (As some Roman guy said, luck is what happens when preparation meets opportunity. I don't know how that's relevant though)
So this is Electraparade:
Twelve electro classics for the twenty-first century, you see? It says so on the front. Well, more strictly, eleven electro classics - one of them is by us:
I think if I had to choose, my favourites would have to be Starbase 109, partly because their song is excellent, partly because they have a song called Vacuum Cleaner, and partly because they wear nice hats. I would like a hat like that.
So anyway, I'll return to this subject when I've heard the CD in full, but if the samples on MySpace are anything to go by, it's a pretty good CD. Except for our track, of course.
So this is Electraparade:
Twelve electro classics for the twenty-first century, you see? It says so on the front. Well, more strictly, eleven electro classics - one of them is by us:
- Martin Degville "Planet Bi"
- Electraset "Just Another Number"
- Alien 6 "Close to Perfection"
- Starbase 109 "Engineering Workshop"
- Electroflex "Appreciate Me"
- Hypernova "My Light"
- One Moment "Cold Stare"
- Neuvogue "Random Number Generator"
- Synthface "With Your Love" (Studio Version)
- Payola Disco "Skinny Girl"
- The Silent Age "Contrition"
- Silver Factory Superstars "Still Love"
I think if I had to choose, my favourites would have to be Starbase 109, partly because their song is excellent, partly because they have a song called Vacuum Cleaner, and partly because they wear nice hats. I would like a hat like that.
So anyway, I'll return to this subject when I've heard the CD in full, but if the samples on MySpace are anything to go by, it's a pretty good CD. Except for our track, of course.
More on that story later...
Attention! I bring news.
The next single might be Beneath the Silent Skies, and may (or may not) be ready imminently. It could have some extra tracks on it, including Part 2 of the title track. Nothing is certain.
Yes, summer is here, so a song about butterflies and killing time is in order. But I'll tell you more about that another time. We've got somewhere between five and ten b-sides ready to roll (as that is what b-sides do), so there's enough for another single afterwards. There might even be enough for another one after that.
We did talk at one point about doing a compilation of spare tracks and remixes. This might not happen this year, due to the thing I'm going to write about in a second, but I hope it will appear at some point in the future, as we're building up quite a big pile of decent spare stuff now. Maybe we should try Swap Shop.
Anyway, the next album, which will probably not be called H9, is well under way. We're currently in the demoing/writing stage, which is generally followed by the recording stage, and then the releasing stage, and finally the getting on with something else stage. Of course, anything could happen, as I probably mentioned above, as the demoing/writing stage of what would eventually become Dusk lasted about three years. On the other hand, this time we've been very happy with the way things have gone, and we've already got enough good tracks to fill an acceptably good album. As I said previously, this going to be as uptempo as we get.
And finally... somehow, by quirk of fate, we have appeared on a compilation called Electraparade. The specifics will follow very shortly, and I'll try to think of some imaginative things to say about it, which might prove difficult, given that I haven't heard it yet.
Oh, hello, by the way.
The next single might be Beneath the Silent Skies, and may (or may not) be ready imminently. It could have some extra tracks on it, including Part 2 of the title track. Nothing is certain.
Yes, summer is here, so a song about butterflies and killing time is in order. But I'll tell you more about that another time. We've got somewhere between five and ten b-sides ready to roll (as that is what b-sides do), so there's enough for another single afterwards. There might even be enough for another one after that.
We did talk at one point about doing a compilation of spare tracks and remixes. This might not happen this year, due to the thing I'm going to write about in a second, but I hope it will appear at some point in the future, as we're building up quite a big pile of decent spare stuff now. Maybe we should try Swap Shop.
Anyway, the next album, which will probably not be called H9, is well under way. We're currently in the demoing/writing stage, which is generally followed by the recording stage, and then the releasing stage, and finally the getting on with something else stage. Of course, anything could happen, as I probably mentioned above, as the demoing/writing stage of what would eventually become Dusk lasted about three years. On the other hand, this time we've been very happy with the way things have gone, and we've already got enough good tracks to fill an acceptably good album. As I said previously, this going to be as uptempo as we get.
And finally... somehow, by quirk of fate, we have appeared on a compilation called Electraparade. The specifics will follow very shortly, and I'll try to think of some imaginative things to say about it, which might prove difficult, given that I haven't heard it yet.
Oh, hello, by the way.
Friday, May 18, 2007
Echoes of Perfection
Well, I think we all go through times like this.
This is a very introspective song which I started in summer 2004. I'm only starting to realise now just how sombre Dusk is, and if this had been on the album, it would have been about as dark as it got.
Despite all of this, I really like it. It's deeply personal, unusually well expressed, and Simon did an amazing job on the production.
Well, anyway, the chances are that if you've heard this song, you've only heard the demo. I can confirm that the final version is at least a little bit better. Also, it's an important historical moment, as it's the first song ever to feature Simon on backing vocals.
The good news is that we've been writing tracks for the ninth album for the last few months, and it sounds like it might be the most uptempo album we've done since... well, since ever really. So if you like us when we're dreary, then make the most of it while it lasts.
This is a very introspective song which I started in summer 2004. I'm only starting to realise now just how sombre Dusk is, and if this had been on the album, it would have been about as dark as it got.
Despite all of this, I really like it. It's deeply personal, unusually well expressed, and Simon did an amazing job on the production.
Well, anyway, the chances are that if you've heard this song, you've only heard the demo. I can confirm that the final version is at least a little bit better. Also, it's an important historical moment, as it's the first song ever to feature Simon on backing vocals.
The good news is that we've been writing tracks for the ninth album for the last few months, and it sounds like it might be the most uptempo album we've done since... well, since ever really. So if you like us when we're dreary, then make the most of it while it lasts.
Sunday, April 22, 2007
Consequences
As with many of the songs on Dusk, Consequences started life some time around the middle of 2004. In fact, this was a very late addition: if the album had been released a year earlier, this would have been one of the tracks that wouldn't have been on there. It was the last track to be completed for the album, last summer.
From memory, this was one of those very suspicious cases when some lyrics just fall into your head: most probably the Head in my hands / I regret those demands couplet. I liked the rhythm of the words, and just kept writing. That said, when I first handed the lyrics over to Simon, they were very incomplete - essentially I'd written the verses, but there was no chorus, so quite a bit of it is his work. Anyway, a few rewrites down the line, I think it sounds pretty good.
According to Simon, the riff was supposed to sound a bit like Delerium, but I doubt anyone else had ever spotted that - I certainly hadn't.
I had a number of ideas for a remix, so I volunteered to do one. Most of those ideas were things like a slightly breaky beat, with electro backing, and things like that. Of those ideas, a grand total of zero came to appear on the final remix. Somehow, it ended up a very laid back affair, in which the hi-hats were accidentally turned into bongos, and stayed that way. In retrospect, there are a few things I'd like to go back and change, but generally I'm pretty happy with how it turned out. Simon did a quick spit-and-polish, and then it ended up on the single.
From memory, this was one of those very suspicious cases when some lyrics just fall into your head: most probably the Head in my hands / I regret those demands couplet. I liked the rhythm of the words, and just kept writing. That said, when I first handed the lyrics over to Simon, they were very incomplete - essentially I'd written the verses, but there was no chorus, so quite a bit of it is his work. Anyway, a few rewrites down the line, I think it sounds pretty good.
According to Simon, the riff was supposed to sound a bit like Delerium, but I doubt anyone else had ever spotted that - I certainly hadn't.
I had a number of ideas for a remix, so I volunteered to do one. Most of those ideas were things like a slightly breaky beat, with electro backing, and things like that. Of those ideas, a grand total of zero came to appear on the final remix. Somehow, it ended up a very laid back affair, in which the hi-hats were accidentally turned into bongos, and stayed that way. In retrospect, there are a few things I'd like to go back and change, but generally I'm pretty happy with how it turned out. Simon did a quick spit-and-polish, and then it ended up on the single.
Monday, April 16, 2007
The cruel consequences
Quiet at the back, please.
That's our new single, which we've decided to call Consequences, after one of the tracks on it.
It only took four months to put it together, which given that it has five songs on it, is quite an achievement.
The single will have the following tracks:
For the first time ever, there will also be two exclusive download tracks:
If we get around to it, we might do another single before the summer ends. The fact that we’ve already done four tracks for the next one will have very little to do with when it finally arrives.
More to follow, at some point.
That's our new single, which we've decided to call Consequences, after one of the tracks on it.
It only took four months to put it together, which given that it has five songs on it, is quite an achievement.
The single will have the following tracks:
- Consequences
- My Light
- Echoes of Perfection
- Moving On
- Consequences (electrobongo remix)
For the first time ever, there will also be two exclusive download tracks:
- Moving On (demo)
- Echoes of Perfection (demo)
If we get around to it, we might do another single before the summer ends. The fact that we’ve already done four tracks for the next one will have very little to do with when it finally arrives.
More to follow, at some point.
Sunday, March 18, 2007
Feed Bäck
MySpace is a funny place. As far as I can make out, it seems to be populated by the following:
We've had some nice comments over the last couple of years, and I'd like to take this opportunity to respond to some of these here...
If anyone can define any of the following for me, I would be grateful: 'zouk'; 'tropical'; 'shoegaze' and 'acousmatic'. I also come across 'IDM' a lot in electro circles, but I have absolutely no idea what that is either.
The next single will be Consequences, with some extra b-sides and stuff, and will hopefully be finished in the next couple of weeks. I'll change the tracks on MySpace when that happens.
- Spammers
- Bands/film makers/porn stars who want to raise their profile
- People who want to show off how many friends they have
- Normal people
- (insert your own joke about the Murdoch empire here)
We've had some nice comments over the last couple of years, and I'd like to take this opportunity to respond to some of these here...
- I know my vocals aren't all that great. But I think they're generally good enough to show how the song should sound, and that's really all that matters at the moment.
- In no particular order, I believe the following are to blame for my vocal style: Jon Marsh; my Granddad; and maybe also Andy Bell to a lesser degree (because I couldn't possibly sing that high). I don't think Edwyn Collins was an intentional influence, but he's pretty good too.
- I don't think either of us can understand the recent popularity of Here We Stand. We both like it, but neither of us had ever thought of it as a highlight. This just goes to show what we know.
- We don't (currently) play live because (1) we live about 3-4 hours away from each other; (2) we see one another about once every 2 months; (3) we don't think we'd be very good; (4) I can't sing very well (see above); and (5) we don't like one another very much.
- We would like to do something with a UK electro-clash attitude, but we can't, mainly because we don't know what it is.
If anyone can define any of the following for me, I would be grateful: 'zouk'; 'tropical'; 'shoegaze' and 'acousmatic'. I also come across 'IDM' a lot in electro circles, but I have absolutely no idea what that is either.
The next single will be Consequences, with some extra b-sides and stuff, and will hopefully be finished in the next couple of weeks. I'll change the tracks on MySpace when that happens.
Saturday, February 24, 2007
Not Even Close
Two tracks on Dust were written way before any others, and, perhaps slightly strangely, they have ended up being the first and last tracks. There are probably a number of reasons for this, but I don't think any of them are particularly interesting.
So Not Even Close begins with a noise that's not too dissimilar to Goldfrapp's Ooh La La. This isn't intentional: Supernature hadn't come out yet when we first recorded this track. It was supposed to sound a bit like I Feel You from Depeche Mode's wonderful Songs of Faith and Devotion album. Never mind, the good ideas are always the most widely used.
It's a song about our (young people these days') disillusionment with British politics. You'll find all the obvious references in there, such as "we trusted your smile, not your lying eyes" and "there's no need to be truthful, or honour what you said". It isn't the first song we've written about this sort of thing - also check out No Man's Land on Zero and Down from Nemesis (admittedly the latter was rather less obvious, as the references to Major, Blair and Thatcher were removed, and the line "I wish I had hair like Michael Portillo" was replaced by "I wish I had hair like an armadillo", which makes much more sense).
Apparently the chords are the same as Not a Million Miles (off our last album Empires), but played backwards. We've done that before, as well. Proof, were it needed, that very little we do is actually original.
So Not Even Close begins with a noise that's not too dissimilar to Goldfrapp's Ooh La La. This isn't intentional: Supernature hadn't come out yet when we first recorded this track. It was supposed to sound a bit like I Feel You from Depeche Mode's wonderful Songs of Faith and Devotion album. Never mind, the good ideas are always the most widely used.
It's a song about our (young people these days') disillusionment with British politics. You'll find all the obvious references in there, such as "we trusted your smile, not your lying eyes" and "there's no need to be truthful, or honour what you said". It isn't the first song we've written about this sort of thing - also check out No Man's Land on Zero and Down from Nemesis (admittedly the latter was rather less obvious, as the references to Major, Blair and Thatcher were removed, and the line "I wish I had hair like Michael Portillo" was replaced by "I wish I had hair like an armadillo", which makes much more sense).
Apparently the chords are the same as Not a Million Miles (off our last album Empires), but played backwards. We've done that before, as well. Proof, were it needed, that very little we do is actually original.
Saturday, February 10, 2007
Latest news
We're currently working on the new single - the first from Dusk. This is the state of play at the moment:
We've got lots of b-sides (i.e. particularly rubbish tracks) toget rid of release, so there will probably be some more singles afterwards, too. And we're also contemplating doing something special at the end of the year - it is our fifteenth anniversary, after all!
Particularly observant readers might notice that I've been adding old news items to the bottom of this blog. I don't really know why - it just seems to make a nice archive of what we've been up to. I might add some more, if I find them.
- It will probably have four or five tracks
- We haven't decided what the a-side will be
- One of the b-sides might be My Light, unless we decide to do something else with it
- There might be a remix
- We know vaguely what the artwork will look like
We've got lots of b-sides (i.e. particularly rubbish tracks) to
Particularly observant readers might notice that I've been adding old news items to the bottom of this blog. I don't really know why - it just seems to make a nice archive of what we've been up to. I might add some more, if I find them.
Friday, January 26, 2007
Calmwaters
We've written several songs about water over the years. In 2001, we had Cloudburst, then on our last album there was Turn the Tide, and now Calmwaters. I suspect it's because I'm a geographer at heart, and like colouring in maps of oxbow lakes, and that sort of thing. And the National Geographic is a particularly good magazine.
So this brings us to Calmwaters: a song about taking life gently, and drifting on the ocean waves... No hidden messages - even if you play it backwards (you may also find that this makes it sound better, too). No profound psychobabble - even if you play it backwards. Nothing like that. Just a gentle and drifting tribute to being lazy. Obviously X-Press 2 did something similar and rather better a few years ago, but I'm not sure that's a problem.
In a way, this song is the exact opposite of Turn the Tide, but with all the same watery references, just to hammer the message home. Well, recycling is good, you see?
Simon did most of the production on this one, using drum samples from an old drum machine. We then went back later on, and added loads of reverb and flanging to the drum sounds, to beef them up a bit. And then we went back again, and took all the sound effects off again.
Proof, if it were needed, that the path to the truth is a long and windy one.
That's windy as in bendy, not as in gusty. Or as in flatulent. Although it might have been that too...
So this brings us to Calmwaters: a song about taking life gently, and drifting on the ocean waves... No hidden messages - even if you play it backwards (you may also find that this makes it sound better, too). No profound psychobabble - even if you play it backwards. Nothing like that. Just a gentle and drifting tribute to being lazy. Obviously X-Press 2 did something similar and rather better a few years ago, but I'm not sure that's a problem.
In a way, this song is the exact opposite of Turn the Tide, but with all the same watery references, just to hammer the message home. Well, recycling is good, you see?
Simon did most of the production on this one, using drum samples from an old drum machine. We then went back later on, and added loads of reverb and flanging to the drum sounds, to beef them up a bit. And then we went back again, and took all the sound effects off again.
Proof, if it were needed, that the path to the truth is a long and windy one.
That's windy as in bendy, not as in gusty. Or as in flatulent. Although it might have been that too...
Wednesday, January 03, 2007
Red Shadows
One of the essential tourist trips in Berlin is East Side Gallery. Located alongside the river, just a couple of minutes walk from Ostbahnhof, it is the largest part of what is left of the Berlin Wall.
To walk alongside it is an incredible experience. Today, it is both daubed and scrawled with graffiti, some official, some added later by tourists; some beautiful and inspiration, some utterly pointless. I think the one that struck me the most was about two-thirds of the way along, where someone had written two words on some painting recording Germany's transition through the twentieth century. Those two words? "Llanelli rule". Indeed. And why not? The Berlin Wall: the seemingly untraversable schism, running through the centre of a previously great city. Oh, and by the way, here's my favourite rwgbi team.
Even though it's just a short section - about a kilometre in all - it's still surrounded by oppressive concrete blocks, and somehow the West becomes completely invisible behind the wall, even painted in vivid colours, with BMWs driving past, and aeroplanes flying overhead to some unknown country far away.
I lived in Berlin for just over three months, but at the risk of over-egging the already eggy pudding, this was the one experience that really inspired me more than any other. And the song is a pretty accurate account of how I felt the first time I went there. Nothing has disappeared, perhaps physically, but mentally there is still a very clear wall. But everything has changed - I've lost count of the times that Germans, both Ossis and Wessis have told me that there is no difference between them. I don't think even they believe it.
We would like to apologise for this entry; we appear to have been invaded by the travel supplement. Normal service will resume next time.
To walk alongside it is an incredible experience. Today, it is both daubed and scrawled with graffiti, some official, some added later by tourists; some beautiful and inspiration, some utterly pointless. I think the one that struck me the most was about two-thirds of the way along, where someone had written two words on some painting recording Germany's transition through the twentieth century. Those two words? "Llanelli rule". Indeed. And why not? The Berlin Wall: the seemingly untraversable schism, running through the centre of a previously great city. Oh, and by the way, here's my favourite rwgbi team.
Even though it's just a short section - about a kilometre in all - it's still surrounded by oppressive concrete blocks, and somehow the West becomes completely invisible behind the wall, even painted in vivid colours, with BMWs driving past, and aeroplanes flying overhead to some unknown country far away.
I lived in Berlin for just over three months, but at the risk of over-egging the already eggy pudding, this was the one experience that really inspired me more than any other. And the song is a pretty accurate account of how I felt the first time I went there. Nothing has disappeared, perhaps physically, but mentally there is still a very clear wall. But everything has changed - I've lost count of the times that Germans, both Ossis and Wessis have told me that there is no difference between them. I don't think even they believe it.
We would like to apologise for this entry; we appear to have been invaded by the travel supplement. Normal service will resume next time.
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