The Tripwire » Brian Eno

Five Questions For Ladytron

Jenn Hernandez — Wed, 27 May 2009 18:37:26 +0000

Words and photos by JENZ

Before Ladytron take the stage in their glam outfits and backed by pulsing electronica, their calculated keys producing some of the most recognizable dance tracks around, I climb aboard their tour bus parked around the corner from the venue to stare directly at a KFC. Very chic.

Member Daniel Hunt is making coffee as band mate Mira Arroyo tinkers on her laptop when I sit down. Ladytron and The Faint are playing for two nights at The Fillmore in San Francisco and are swapping headlining duties. Playing at the Fillmore, says Hunt, is surreal because “it’s where we started” as a band.

The UK outfit, which also includes Reuben Wu and Helen Marnie, has been busy since releasing Velocifero last year. In between remixing, DJ appearances, and touring, the band is also producing new tracks for singer Christina Aguilera, which Hunt apologizes he can’t offer to us for a sneak peak. “As soon as you’re gone, I’m actually gonna blast it.” Ladytron are also embarking on a mini-Australian tour which include two nights at the Sydney Opera House as a part of a festival curated by none other than Brian Eno, who asked the band personally to tag along.

During the live show I observe that songs with a more synth like “Ghosts” and “Seventeen” pack a better punch; this night is the one Ladytron are headlining at, and a lot of people in the audience seem half-enthused and half-out of their mind from what I can see from the balcony. I’m glad to also witness that most of the electronic shows I’ve seen in the past few months have had a killer light show to accompany the dance soundtrack. Note to self: think about maybe getting high next time.

At the after show hosted by Popscene, Wu and Hunt take to the DJ decks to blast some crazy techno-type beats. Before the night is over, a woman badgers them about how she got gypped out of seeing Ladytron perform live. “The flyer lied to me! I want my money back! She didn’t perform!” Confused, the two gently try to explain that they were only there to spin and not play, to which the woman replies “How can you be in the band?” She thought Ladytron was a solo act. Hunt’s amusement is beyond containment.

I was told you have the juicy info on everyone in the band. Is this true?
Juicy info, really? [laughs' Maybe just in regards to what we’re doing. We’re finishing the tour in the U.K., then flying to Moscow to play dates with Depeche Mode. And, we’re doing an opera with Brian Eno in Sydney, tailor set to creation and surroundings.

Are you in Brian Eno’s iPod? How did that solidify?
His daughter was actually at our Oxford show, and said her dad was into us. Which is amazing, he was hugely influential to not only us but many others -- just try to document it. The opera is not really every day sort of thing we get to do.

You guys are like the UN of electro groups; you’re in Milan, Reuben’s in Liverpool, and Helen and Mira live in London. Is it hard for things like band practice with you being the furthest?
Living in different places is actually quite good. You spend all this time on the road, so it’s nice to split for a little while. In Europe it’s so cheap to get around. From London to Italy is as easy and cheap sometimes from Liverpool. Milan is also underrated in its reputation, I think. Santo looks like an artsy Paris, and Italians don’t like it very much. But the infrastructure and jobs in architecture, I quite like it. It’s an hour away from the coast.

For making music for people to dance to, it seems your stage presence is really quite calm.
We get asked about that a lot, and that is also said about us a lot too. Truthfully it’s like day and night [when you look at the way we first performed and to now]. I mean, do you want us to strap on a synth and punch the air? The whole idea of “stage craft” is bullshit, like someone gave you a manual and things to say in between songs and how to act on stage. I find it to be really false. When I watch bands, I just watch them play, not how much they jump around. We just didn’t buy into the idea and I’ve always found that a bit funny.

What does it mean to go on a DJ tour, anyway?
Put on your iPod and play some shit. (laughs) It’s normal from band members to do that, but “DJ tour” I admit is a weird wording. It’s more like DJ gigs. When we started going out on our own to DJ it was quite uncommon, because most bands were just doing live shows all the while. It’s a good way to try out new material that you don’t do on the road, or when you’re in between albums and need to kill time. But sometimes that goes against us or people do weird shit. Once someone asked me “Can you play some Ladytron?” and I said, “This is Ladytron, it’s our new single.” The response there was “Oh, okay. But can you play some Ladytron we know?”

Not Again: Coldplay Now Accused By Cat Stevens Of Plagiarism

Brianne Sullivan — Mon, 04 May 2009 17:00:05 +0000

Chris Martin and co. seem to have mastered the art of the generic pop-rock song when they wrote the title track for their last album Viva La Vida. Why else would the British alt-rockers keep finding themselves under scrutiny from other musicians accusing Coldplay of ripping them off? First it was Joe Satriani, claiming the foursome stole the melody for “Viva la Vida” from his song “If I Could Fly”, but now Cat Stevens has joined in on the drama, claiming the band actually ripped off the melody from his song, “Foreigner Suite”.

Unlike Satriani, Stevens has not said he will take legal action against the group, but the musician told The Sun that he is the real inspiration behind Coldplay’s music. Though this claim might seem a bit more plausible than the Satriani case, (can’t you envision Chris Martin rocking out to Cat Stevens over Joe Satriani any day?) we have to say, it is probably one more instance in pop song writing, where a generic melody takes the shape and sound of some other melody that was already written. It is the risk you run when in pursuit of writing a three-chord hit, too bad Coldplay just found a bit more success than their accusers while doing so.

This is not the first time Stevens has been a victim of song writing copy cats. In 2003, Stevens and The Flaming Lips agreed to split the royalties from the Lips’ song, “Fight Test” after it was said to be too similar to Stevens’ 1970 song, “Father and Son”. Even though Stevens doesn’t seem interested in pushing legal action against Coldplay, let this be a note to Chris Martin while in the studio: Just let Jon Hopkins and Brian Eno write all of your songs.

For The Record – A Video Interview With Jon Hopkins

Derek Evers — Thu, 23 Apr 2009 17:27:40 +0000

Jon Hopkins came back to New York for the first time since his Madison Square Garden show opening for Coldplay, and the scene this go around was much different. I tried to catch him at the Museum of Natural History where he performed with Four Tet, but he was late in arriving, so we rescheduled to do the interview in our offices the day after he performed an intimate show at Pianos.

The composer, pianist and self-taught producer has worked with Brian Eno, Herbie Hancock, David Holmes and the previously mentioned Coldplay, yet few on our shores know of him — except for maybe the song he wrote for Coldplay’s Viva La Vida album, “Light Through The Veins”. His range of ambiant to trance to movie scores is nearly as impressive as his resume, which is just one of the reasons I wanted to talk to him.

Fully display on his upcoming record, and first in four years, Insides [May 5, Domino], Hopkins abilities represent the work of someone who has spent long hours honing his craft. Yes, Insides does include his version of “Light Through The Veins”, but it also includes a thorough representation of someone who is quickly becoming one of the best young producers of our era. As his bio states, Hopkins transcends genres, melding digital coldness with subtle, bucolic textures; veering from skewed elegance to strange, unsettling depths.

Pet Shop Boys Talk About Studio Time With Brian Eno

P. Elizabeth Cawein — Tue, 31 Mar 2009 19:29:20 +0000

We get pretty excited when people we think are cool collaborate. Hence, our growing glee over the Pet Shop Boys working with Brian Eno.

Neil Tennant and Chris Lowe hinted to The Quietus recently that they’d worked with the legendary producer, and in a second interview a few days later, they got the skinny on the collaboration.

“We discovered that Brian Eno was in St. Petersburg, and flew over for a few days and we kept going back,” Neil Tennant told The Quietus. “This was when we were planning our musical Closer To Heaven, and we asked if he was interested in producing it.

“We did a day with Brian in the studio, and his idea was to humanise the electronics, which was a good idea, we played keyboards live and it was quite interesting. It all fizzled out, which was a shame really as we were all quite into it. I think what Brian does is he helps people write songs, and we arrived with 12 songs.”

Chris Lowe added that he thought the sessions could have been more fruitful: “we should have turned up with nothing,” he said. With this in mind, Pet Shop Boys seem to be keen to reopen a relationship with the producer. “Maybe that’s an idea for album for us, where we go to Brian Eno to write songs,” said Tennant.

“We always have all these songs, and it’d be an interesting starting point to go with nothing, a blank sheet,” Lowe added. “And Brian Eno would definitely be a person to do that with.”

So maybe nothing incredible and new coming our way courtesy of a Tennant/Lowe/Eno collab, but it looks like the seeds have been planted for the future. A fan can dream, right?

Flashback Friday Video – Devo “(I Can’t Get No) Satisfaction”

Derek Evers — Fri, 13 Mar 2009 19:04:59 +0000

Since last month had a Friday the 13th too, we decided to forego the creepy video this time around and pay homage to Devo’s decision to play their 1978 debut Q: Are We Not Men? A: We Are Devo! in it’s entirety.

Not only did they announce they would play Q: Are We Not Men? A: We Are Devo! in it’s entirety at the London Kentish Town Forum on Mar 6, but they announced they will be putting out a new record for the first time in two decades as well (plus ATP and SxSW), so how could we not pay homage?

Known for its hits like “Mongoloid” and “Gut Feeling”, Q: Are We Not Men? A: We Are Devo!, has become a staple album for the late 1970s and 80s new wave scene. The album was produced by Brian Eno at the behest of David Bowie and Iggy Pop. Ironically, the recording sessions were a source of frustration for Eno and Devo. Eno found the group unwilling to experiment or deviate from their early demos of recorded songs. Devo later admitted that “we were overtly resistant to Eno’s ideas. He made up synth parts and really cool sounds for almost every part of the album, but we used them on three or four songs.”[from Wiki]. Also ironic is that the only song to get an official video was their cover of The Rolling Stones‘ “(I Can’t Get No) Satisfaction”. But as we all know, they went on to “Whip It” later, making music video history.

Devo – “(I Can’t Get No) Satisfaction”

DEVO Announce First New Album In Almost 20 Years

P. Elizabeth Cawein — Thu, 12 Mar 2009 18:25:08 +0000

It’s been 29 years since we first saw those yellow jumpsuits and red hats. It’s been 29 years since we were politely reminded to whip it. Whip it good. And it’s been 19 years since we’ve had our hands on a new LP from new wave icons Devo, but all that is going to change this fall with the release of their first album since 1990’s Smooth Noodle Maps.

There’s no title, there’s no exact date, there’s no real information other than this is happening. This will be their first new music since their 2007 single “Watch Us Work It,” which at the time was their first new track in 18 years. The five current members of Devo (including co-founders and songwriters Mark Mothersbaugh and Gerald Casale) will be making a special stop-off in Austin next week for a SXSW press conference and keynote panel next Thursday, March 19. They wouldn’t come to SXSW just to chat, though, so they’ll be performing a one-night-only gig at Austin Music Hall Friday night.

They’ll head to the UK shortly after that, for a series of shows in May, including the performance of their entire album Q: Are We Not Men, We Are Devo! at London’s Kentish Town Forum. The 1978 album was Devo’s debut, and was produced by Brian Eno. They’ll also be headlining the All Tomorrow’s Parties festival in Somerset while in the UK, at Butlins Holiday Centre on May 8.

03.18.09 – Dallas, TX (Palladium Ballroom)
03.20.09 – Austin, TX (Austin Music Hall)
05.06.09 – London, UK (Kentish Town Forum)
05.08.09 – Somerset, UK (Butlins Holiday Centre, Minehead)

Devo To Play 1978 Debut Album In Its Entirety For The First Time Ever

Brianne Sullivan — Fri, 06 Mar 2009 20:07:25 +0000

Devo has some new surprises in store for us under those flower-pot hats of theirs. For the first time ever, the infamous new-wave troupe will be playing their 1978 debut album, Q: Are We Not Men? A: We Are Devo?, in full form on May 6. The Akron, Ohio natives will be performing the 11 tracks at the London Kentish Town Forum, from start to finish.

Known for its hits like “Mongoloid” and “Gut Feeling”, Q: Are We Not Men? A: We Are Devo?, has become a staple album for the late 1970s and 80s new wave scene. The album was produced by Brian Eno and has been dubbed as one of the 500 Greatest Albums of All Time by Rolling Stone.

After their performance at the London Kentish Town Forum, the band will also be playing at the All Tomorrow’s Parties: The Fans Strike Back event on May 8 in Minehead, England. Waiting till May to hear Devo perform might be too much to handle, but don’t fret — Devo will be also performing in Austin, TX at the SXSW music festival later on this month. They might not be playing the entirety of their 1978 debut album, but in the likes of all things Devo, it is bound to be a spectacle to say the least.

No Line On The Horizon

Michael Cranston — Wed, 04 Mar 2009 16:59:47 +0000

U2
No Line On The Horizon
Interscope
Release Date: 03.03.09

You and I have absolutely nothing in common with the members of U2. The Irish quartet has sat at the zenith of fame for twenty straight years. They sell out stadiums at every end of the world, own hotels and restaurants, talk with the U.N., and live a life unimaginable to most (though it should be said that 95% of U2’s fame is really Bono’s fame). Bono’s international prestige and abundance of global experiences have insulated him from real world experiences. It’s not that Bono doesn’t understand the proletariat anymore — after all, U2’s ostensible raison d’être is humanism — it’s that Bono’s wealth of experience has resulted in a righteous and celestial persona that has produced the worst music of his career. Indeed, there have been several bloody Sunday’s to sing about, but Bono’s now the one ineffectively mediating the crisis at the U.N., not the one protesting at the front line. This is why Bono’s motives are viewed with suspicion, why his idealism in regards to African aid is considered naïve, and why he is a constant parody of the “celebrity meets activist” paradigm.

“I don’t want to talk about wars between nations,” he announces on the bloated masturbation that is the album’s lead single, “Get On Your Boots”. The line is as ridiculous as it is vacuous. It’s incredibly curious how “Boots” even made it onto No Line on the Horizon, let alone became the album’s launch pad. Fortunately, the quasi-rock anthem is sonically independent from the rest of the album. Unfortunately, it’s still one of the album’s better songs. No Line is boasted as a return to the “classic” U2 sound (an absurd claim considering their diverse range of albums) but most of it sounds like b-sides from 2000’s All That You Can’t Leave Behind. However, where “Beautiful Day” had its soaring hooks, No Line is guilty of the worst kind of musical complacency. It is painfully innocuous: an album for the Grammys, Billboard, Grey’s Anatomy, etc. It takes not a single risk. Musically, the rich textures of Brian Eno and Daniel Lanois mire most tracks and The Edge’s signature guitar lines have never been so mild. On “Magnificent”, an opening guitar grinds and synth layers anticipate something magnanimous until the song devolves into a soft-rock bore. Bono then mutters a lyric that would better suit the Jonas Brothers: “Only love can leave such a mark/ but only love can heal such a scar.” The barometer for maudlin bullshit goes off the charts as he bellows “It’s not if I believe in love/ if it’s love believes in me” on the next track. In comes the worst-titled U2 track ever, “I’ll Go Crazy If I Don’t Go Crazy Tonight”, featuring Bono’s worst lyrics and one of the least evocative MOR, adult-contemporary Brian Eno-infused melodies I’ve ever heard. After five tracks, No Line makes Viva La Vida sound more intense than Fucked Up.

The musical inoffensiveness is complimented by Bono’s incessant empty moralizing. “Cedars of Lebanon” channels the surface emotions of a journalist in the Middle East “squeezing complicated lives into a simple headline.” On “Breathe”, it’s a rallying call to promote “a love you can’t defeat.” The somber “White As Snow” ponders “who can forgive forgiveness where forgiveness is not?” Indeed, self-righteousness is much easier to maintain through rhetoric than through blunt talk. It’s easier to bitch about indifferent Western nations and Third World debt than it is to call-out the world leaders that perpetuate it.

U2 haven’t released a great album since Achtung Baby. But where Pop may have been considered a critical flop, it was admirably ostentatious and risky. Similarly, three subsequent tours (ZooTV, Pop Mart, Elevation) challenged the standard dimensions of an arena or stadium rock show. Undoubtedly, U2 pioneered new methods in tour and deservingly ascended themselves to God-like status in the music world. However, No Line sits idly by, content to borrow from safe terrain, uninterested in exploring anything new (perhaps it’s just old age?). Though not unbearable, No Line is simply anodyne new music — the least appealing of U2’s venerable career.

Ladytron And Goldfrapp In The Studio With Christina Aguilera

Brianne Sullivan — Fri, 06 Feb 2009 22:15:24 +0000

The electronic pop sounds of Ladytron are undeniably catchy. Their infectious beats manage to permeate through your brain, leaving you unable to deny the trance of dance the foursome create, and Christina Aguilera’s people must have caught onto Ladytron’s noxious sound; having the two teams pair up in the studio together, collaborating on Aguilera’s upcoming album.

The Liverpool DJ’s toured through out 2008 playing in over 31 cities, but have managed to take some time to write songs for Aguilera. Aguilera is also employing the likes of Goldfrapp and Sia Furler, according to Billboard.com. No information has been given regarding her forthcoming album, but with Ladytron put into the mix, there’s bound to be some sort of unique sounds coming out of the once-deemed pop-princess’ new record.

Aside from helping out Aguilera in the studio, Ladytron is also releasing a six track EP called Tomorrow on March 3rd and getting ready to hit the road starting in April, where they will be co-headlining a tour with The Faint. After concluding their North American tour, the group will also be playing four shows with Depeche Mode in Europe, and two shows at the Sydney Opera House with Brian Eno.

Ladytron tour dates
04.01.09 – Milwuakee, WI (Tuner)*
04.02.09 – Minneapolis, MN (First Avenue)*
04.03.09 – Chicago, IL (Metro)*
04.04.09 – Chicago. IL (Metro)*
04.06.09 – Toronto, ON (Phoenix)*
04.08.09 – Boston MA (House of Blues)*
04.10.09 – New York, NY (Webster Hall)*
04.11.09 – New York, NY (Webster Hall)*
04.13.09 – Philadelphia, PA (Trocadero)*
04.14.09 – Washington,DC (9:30 Club)*
04.15.09 – Baltimore, MD (Sonar)*
04.17.09 – Asheville, NC (Orange Peel)*
04.18.09 – Atlanta, GA (Variety Playhouse)*
04.20.09 – Houston, TX (Warehouse Live)*
04.21.09 – Austin, TX (Stubb’s)*
04.22.09 – Dallas, TX (Granada)*
04.24.09 – Tucson, AZ (Rialto Theatre)*
04.25.09 – Anaheim, CA (The Grove)*
04.26.09 – Los Angeles, CA (Henry Fonda)*
04.29.09 – San Fransisco, CA (Fillmore)*
04.30.09 – San Fransisco, CA (Fillmore)*
05.01.09 – Portland, OR (Roesland)*
05.02.09 – Seattle, WA (Showbox SODO)*
05.03.09 – Vancouver, BC (Commodore)*
05.05.09 – Denver, CO (Ogden)*
05.16.09 – Nicjaresy (Parc Izor)#
05.18.09 – Sofia (Vasil Levsky Stadium)#
05.20.09 – Belgrade (Usce Park)#
05.21.09 – Zagreb (Arena)#

* with The Faint
# with Depeche Mode

David Byrne Interviews Himself

Derek Evers — Wed, 04 Feb 2009 20:14:31 +0000

True story: Maia and I are at a bar waiting to interview Lady Sovereign when the bartender — who at at this early hour is just opening up the joint and spinning songs from his iPod — plays the song “Strange Overtones” from the David Byrne / Brian Eno Everything That Happens Will Happen Today album over the stereo. This prompts Maia to turn to me and ask if I’ve ever seen the video of David Byrne interviewing himself. I say no. Until now.

This hilarious video of David Byrne interviewing himself was originally shot for a Talking Heads‘ film concert by Jonathan Demme.

Coldplay In The Studio With Brian Eno But Not Chris Martin

Brianne Sullivan — Fri, 30 Jan 2009 18:13:43 +0000

As we reported just about a week ago, Coldplay and producer Brian Eno are at it again; taking some time off to record new material, after the combo’s success on 2008’s Viva La Vida. Front man Chris Martin will not be part of the equation though; at least not for another few weeks.

Martin announced during a solo, acoustic performance for the London based radio station Absolute Radio today that Eno encouraged the band to step into the studio without Martin, saying in a letter that “Viva la Vida was good. But I know that you can do better.”

The band will be in the studio sans Martin for the next two weeks, working on material with Eno. For the time being, Martin will have to hang solo, saying “This should be interesting… I’ve never tried this before.”

We’ll have to wait and see how Coldplay makes out at the Grammy Awards next week, where the group is up for seven nominations for their work with Eno.

Coldplay Back In the Studio With Eno Once Again

Brianne Sullivan — Fri, 23 Jan 2009 22:38:43 +0000

After much commercial success with Coldplay’s fourth studio album, Viva la Vida, it sounds like Brian Eno will be heading back into the studio to collaborate with the British foursome once more. Or is that sound a tweet?

Eno recently wrapped up work on U2’s new album, No Line On The Horizon, and will be joining Coldplay in the studio before they gallivant off to Tokyo in February for the start of their world tour.

Though Eno received some slack for his last go with Coldplay, fans and critics most likely won’t be crying this time around, after the news of Coldplay’s seven Grammy nominations and 4 BRIT nominations for their work with Eno on Viva.

In total, Coldplay has received four Grammys to date, including Record Of The Year in 2004 for Clocks. Perhaps the Eno-magic will help rocket U2 to such success with their new album as well.

Coldplay Tops BRIT Nominations, Jack White To Collaborate With Oldest-Ever Nominee

P. Elizabeth Cawein — Thu, 22 Jan 2009 17:35:51 +0000

Coldplay might have topped the BRITs nominations list with four nods, but our choice for best week ever goes to blues man Seasick Steve. He not only became the oldest artist ever nominated for a BRIT award this week, but also announced he’s getting ready to work with Jack White.

Seasick Steve made the announcement at the BRITs nomination party. Of course, he also admitted that prior to being nominated he’d actually never heard of the BRITs. At 67 years old he takes the cake for oldest ever nominee, shortlisted in the Best International Male category. Poor Steve is up against Beck, Kanye West, Jay-Z and Neil Diamond. But apparently he tests well with the British, and has for a while now — he won the 2007 MOJO award for best breakthrough act — so we have our fingers crossed.

Other than Steve, Coldplay pulled a Grammy repeat, scoring four nominations. They tied with soul songstress Duffy (whose album beat them out for best-seller in the UK in 2008) at the top of the heap, with Adele, Elbow and Scouting for Girls close behind at three nods each.

Radiohead, Girls Aloud, Estelle and the Ting Tings grabbed two noms each, with Radiohead and the Ting Tings competing against Coldplay and Elbow for best British album.

The nominees for both the best international group and best international album awards are AC/DC, Fleet Foxes, the Killers, Kings of Leon and MGMT. The best international female category (the counterpart to Seasick Steve’s nomination bunch) features Beyonce, Gabriella Cilmi, Katy Perry, Pink and Santogold.

The BRITs are also bringing back the award for best producer, last given at the ceremony in 1998. The nominees — Bernard Butler, Brian Eno and Steve Mac — will find out their fate a little sooner than everyone else, as the award will be presented at the Music Producers Guild Awards on Feb. 12.

The rest of them will be handed out on February 18 in London. The only artist who can count on taking home a trophy is Florence and the Machine, who is the winner of the 2009 Critics’ Choice award, chosen annually by a media panel. Well, her and the Pet Shop Boys, who will be recognized in the outstanding contribution to music category. You can check out the full list of nominations here.

U2, the Pet Shop Boys, Kings Of Leon, Duffy and Girls Aloud will perform at the awards ceremony.

Brian Eno To Score New Heavenly Peter Jackson Film

P. Elizabeth Cawein — Tue, 16 Dec 2008 19:19:28 +0000

Peter Jackson is making a new movie, and we can safely bet that there are no elves or hobbits or fun talking woodland creatures in this one. That’s mostly because it’s an adaptation of Alice Sebold’s novel The Lovely Bones, and it has nothing to do with Middle Earth. Before you get disappointed, there is good news — legendary musician/producer/composer Brian Eno will be scoring the film.

The plot of the novel and upcoming film goes a little something like this: a girl gets brutally raped and murdered, and then watches the aftermath unfold for her family from heaven, which makes Eno and his ambient music skills a perfect fit.

Eno’s music has been featured in films in the past, though he hasn’t been known for his film scores. His song “Deep Blue Day” was featured in Trainspotting, and more recently three of his tracks were featured on the 2004 flick Clean and two tracks for this year’s Boarding Gate. But it won’t be his first time scoring a film — he’s done several, including 2005’s The Jacket, which starred Oscar winner Adrien Brody.

The Lovely Bones is set for a December 11, 2009 release, and stars Stanley Tucci, Susan Surandon, Mark Wahlberg and Rachel Weisz, among others.