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Interview with black midi /ブラック・ミディ来日インタビュー

ーーYou guys have all kinds of different songs and even within the songs you have different percussions and development. Was there anything that you guys cared about and considered important when you were making the record or any challenges?

Morgan : I guess what we found important was making the songs interesting whether with instrumentations, sonics within those instruments, what they were doing with the pedals or how I’m playing the drums. Structurally as well. There were different structures within the songs. Structure is a big thing for us. Because naturally if a structure is not the norm, then it will catch your ear. For example like Frank Zappa and that kind of thing like Captain Beefheart which we have been compared to sometimes. It’s just captivating. Just purely in the way the song travels. So I think structure is a really important thing. Lyrics as well. Every individual aspect we all care about but at the same time we don’t deeply think about it. It’s just like let’s just try and make it interesting and I think we have an ability to make things happen in a natural process.

Matt : It’s just an emphasis on how we make it interesting for ourselves as well. Because it is important to feel connected to the music as well. We’re not too interested in whether people like it or not. One thing we found important when making the record was just trying to separate from the live experience. Having loads of different instrumentations that we wouldn’t have been able to do live just between the four of us. But we found it hard to translate the energy in live shows into a record.

Morgan : Along the same lines within music, live and studio are two different products so it wouldn’t make sense to treat them like they were the same thing. But definitely the whole thing about translating the energy to the studio was such a big factor because that there are so many records that do it well but it is hard to do. We actually wanted to take the music into a different space. We hadn’t actually been in a studio environment that much before we had recorded the album. So I would say we probably spent about 8 or 9 days in a studio setting with just us four which isn’t really that much. So I think we had adapted really well but a lot of that is down to Dan Carey the producer. How he’s just cool and super easy to work with. His studio is super suitable for the way we work. By that I mean really spontatious about adding different things here and there. And he could just set up a mic and record it in seconds. Whereas other places would be faffing around and ‘Let’s get the mic set up and let’s get it plugged in and…’ by that time the idea doesn’t feel feel anymore so.

Matt : It’s when they talk about whether to put a random instrument up on this random part and by the time they’ve finished talking about it, you like feel like you don’t want to do it anymore.

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