Tape Notes made a podcast about the making of Violence, featuring an interview with Justin, Eliot and I. “Listen to find out what an Ed â€˜weaselâ€™ is and why many were brutally culled by Leo, why Tom is the easiest vocalist in the world to record, and why Justinâ€™s guitar solos are more â€˜Top Gunâ€™ than they are â€˜Joey Santiagoâ€™.”
Also, I’ve been preparing for a 2-week solo tour of Russia in November. It’ll feature a framework of improvising environments that I’ve made in Ableton, where all sounds including drums come directly from the guitar, live with no looping. I’ve spent much of the last 6 months developing it and I’m excited to finally be doing shows.
Sample of logistical arrangements from my dear friend Iouri Lnogradski, heroic mastermind behind the Muzenergo tours of Russia: Connection to Izhevsk, really a bit insane as the train I was hoping for is cancelled for ever and we cannot change dates. They drive you after the gig (2 hours) to small station at Arzamas and help to get train 01:50-12:09 (10 hours to go), of 20 EUR in 4-beds. Then you’re picked up and yet 1 hour of driving to Izhevsk. I asked from local promoter if that’s possible to mount the only remained direct train but it leaves at 20:48, and even with a gig starting 19:00 strict and lasting till 20:00 strict, I doubt he’ll accept that idea. Sorry, sorry, sorry :((
An album will probably be made out of the live recordings. Dates to follow shortly.
I’ve been doing quite a bit of mixing work over the last month – starting finally to enjoy it after 10 years or so – for a really talented artist from Poland called MIN-t, The Magic Lantern – one of my favourite bands whose first record I was involved with 10 years ago, and the Ligeti Quartet whose record of throat-singing arrangements by Christian Mason is a work of demented genius.
I’m in New York at Figure 8, working with my friend Shahzad Ismaily to finish off a couple of projects. One is a record of improvised guitar duets that Shahzad and I have been putting together whenever we find ourselves in the same city, and the other is more of a group effort based around Martin France and I, featuring Arve Henriksen, Matana Roberts, Tim Harries and Shahzad.
Last week Tom Rogerson of Three Trapped Tigers came to the studio. Improvisation is a large part of his approach, but we are also re-framing and redeveloping material that came about in earlier sessions.
I wrote a piece for this month’s Songlines magazine about the Roof Of The World Festival in Tajikistan.
It’s been a while since the last update – I’ve spent most of the time working on something that hasn’t been announced. But I can say that it will feature Stella Mozgawa from Warpaint, Josephine Stephenson, Benge, the Plus Pedal, and the Arp 2500. I’ve also been working on an improvised record with Martin France, which we hope to complete soon.
In the meantime there have been some new releases of stuff I worked on last year, including Jon Hopkins’ new record for which I arranged the choir; the soundtrack to Oceans 8 which also features Shahzad Ismaily, Kenny Wollesen and Tim Lefev; another single from Editors; and a couple of tracks from the forthcoming Tunng album.
I spent December and January producing Guster in Montreal and Calgary, and hopefully the first single will be out soon. In Calgary we recorded at Studio Bell, which has an incredible synth collection as well as the Trident consoles that were originally at Olympic Studios in Barnes. That place was a real find.
Soon I’ll be going to Tajikistan for a month to attend the Roof Of The World Festival in the Pamir mountains, and help a documentary team with their project about traditional musicians in that area. I’ve been passionate about this music ever since I first heard field recordings that my friend Lu Edmonds made, 15 years ago. I’m thrilled to finally be going.