Monday, November 30, 2009

Thursday, November 26, 2009

Brief updates

  • Mercury Records have confirmed Arcade Fire will release their third album next year.
  • If you missed Nico Muhly and Richard Reed Parry with the Kitchener-Waterloo Symphony I've got something for you - all you other clever people who did listen to it also of course. First up a recording of the whole thingy that was broadcasted. If you're only interested in Richard's involvement in the concert you're probably best off downloading this. It only features the interview with Richard and his orchestral piece "For Orchestra and Heart and Breath" which you can read more about here. Oh and both of these are mp3 recordings.

Tuesday, November 24, 2009

Arcade Fire tour in June?

Primavera Sound has had a long-running vote on what bands the fans want them to book for next year's festival. The vote is now finished and unsurprisingly Arcade Fire was one of the most requested bands. Though Primavera Sound made it clear Arcade Fire was out of the question this year after apparently they were told by the band/Arcade Fire's management they won't be hitting the roads until June next year at the earliest. Thereby ruling themselves out of the festival, which is held in May. This also rules them out of headlining Coachella, something that's been heavily rumoured they would be doing.

I'm trying very hard here to contain my excitement.

Bell Orchestre - iTunes Live from Montreal

For $9.99 (99 SEK) you can as of today download the live album "iTunes Live from Montreal" by Bell Orchestre after the jump.

Edit: It's now only $5.99 (59 SEK).

Monday, November 23, 2009

Volcan Flamingo

Beirut frontman Zach Condon today announced he's part of a new band called Volcan Flamingo. The other members of the group are Tim Kingsbury of Arcade Fire, Josh Todd of Bark Cat Bark and Julian Koster of Neutral Milk Hotel. Supergroup! The band will release a vinyl limited to 500 copies on the record label 4AD in the summer of 2010.

Edit: This is now unfortunately confirmed to be a made up story :(

Saturday, November 21, 2009

This is sweet.

The ending is lovely. Taken from the Seattle Rock Orchestra's tribute show to Arcade Fire's album Funeral which you can read more about here.

Thursday, November 19, 2009

Reissue of the best album ever

On December 15 Merge Records will release a reissue of Arcade Fire's masterpiece album Funeral on 180-gram vinyl (MRG255LP). It's at the moment unclear if there's been any changes to the album, but in all likelihood nothing has been changed, added or altered with. Just pressed on more durable vinyl. Any order will come with a digital download coupon as well.

Preorder: Arcade Fire - Funeral (180-gram vinyl reissue)

Thursday, November 12, 2009

Arcade Fire rumour of interest #2

The same guy who only a few days ago told us a couple of exciting things about Arcade Fire's new album has now revealed one more exciting thingy.
Scoop: Arcade Fire's Third Album (Addendum)

You may remember some reliable hearsay on my part concerning the forthcoming Arcade Fire LP. Well, there was one last deeply awesome thing my source reported that I unforgivably left out of that transcriptive post, and here it is:

“One track features harpsichord, which was quite lovely.”
Not sure what a Harpsichord is? Read more about it here. This album's Hurdy Gurdy? Amazing.

Mogwai live film "Burning" teaser

Directed by Vincent Moon and Nathanaël Le Scouarnec. The film will be released sometime early next year. I'm looking forward to it. Oh yes I am.

Tuesday, November 10, 2009

Awesome 'behind the scenes' video with Arcade Fire

Someone by the name of Ryan Adams has put up a marvellous 'behind the scenes' type of video with Arcade Fire. It's from their 2007 Neon Bible tour. The song is of course Keep The Car Running.

*Edit: The video has now been taken down. It wasn't meant for the world to see just yet.*

Aaaaargh!! Miss them more than I would ever be able to put into words.

Monday, November 09, 2009

The Quietus interviews Richard

This article really angers me. Really cheap move from The Quietus to ask for an interview with Richard about Bell Orchestre and then headline the piece with "Arcade Fire Recording New Songs". And not only that, they ask nearly as much about Arcade Fire as the band they should be asking about.

For shame, The Quietus!

Friday, November 06, 2009

The Box score to be released with the DVD?

Extract from an interview Ain't It Cool News (Beaks) did with Richard Kelly.
Beaks: Were any of these jettisoned scenes scored?

Kelly: Yes. It's funny: Win and Regine loved the chase, but it kept going in and out of the movie. So they were finally like, "You know what? We're going to score it anyway." Just in case there's ever a longer version of the movie, they scored the whole thing.
[Kelly and I now go into a spoiler-heavy discussion of a cue from the end of the film. Basically, I thought a certain piece of music ended abruptly (not in a bad way), and wondered if there was more to that scene. Kelly said there wasn't.]

Beaks: That's interesting. Obviously, I love their score.

Kelly: The band pretty much had final say over how their score was edited. And I was more than comfortable allowing them that. When I cut their score in, Win had a few notes, and Regine had a few notes, but I was more than fine with their notes because they understood the story so well. It was the easiest collaboration. They actually helped keep me sane and emotionally grounded throughout the whole process. They were an extra set of eyes. The saw twelve or fourteen cuts of the movie, and they were constantly there to give me thoughts about the cut. They were really helpful.

Beaks: But if they had final say on how the music was cut, doesn't that mean they had some say on how the actual film was cut?

Kelly: That was something I promised them. I said, "Don't worry. I know you're signing contracts here, but, as a filmmaker, I promise you that you're going to be happy with how the score is cut. And if you're not, let me know." I trusted them with that. And at the end of the day, we were on the same page. We maybe had a short little debate here or there, but I trusted them. It's their music. They understand how to deliver, and they understand story. It was a very specific collaboration with people I have so much respect for as artists. This was not a traditional composer-for-hire situation. It was something where they invested a lot of their time and energy into creating this specific kind of music. They were really proud of it. And they just wanted to make sure that it was used and edited properly - and I don't blame them.

Beaks: So are they film buffs?

Kelly: Mm-hm.

Beaks: Could you, like, reference a cue from a specific Hitchcock film and know they'd pick up on it?

Kelly: When I met Win backstage after their show in September of 2007, before we'd started shooting, I handed him a script and a CD of Bernard Herrmann's VERTIGO. I was like, "If you get a chance, try to read it." I didn't expect to hear back from him; I figured it was just a long shot. But he called me the next day and said, "Regine and I read the script, and we had a really strong emotional connection to it. We think this could be really cool. Keep in touch." So when I wrapped, I sent them the rough cut. I don't think I sent them the three-hour rough cut, because... (Laughs) and that was really an assembly. I shouldn't say "rough cut".

Beaks: It was your "chaos draft".

Kelly: It was the "Talking Fox cut". The "Chaos Reigns assembly". (Laughs) But I think I sent them the two-hour, twenty-five-minute cut. Then they did twelve demos, and they were like, "If you don't like the demos, tell us you don't like them now because we're not going to keep going." And the demos were fantastic; they were so on the money. And then it was just about getting to the finish line, and making sure they were protected. At the end of the day, it was something everyone was happy with.
This was not a regular composer-for-hire job. This was a massive collaboration with an additional artist that had a significant amount of power - which I helped facilitate. They had creative control.

Beaks: Without you giving up control of the film?

Kelly: Right. Normally, when you sign a deal with a studio, they can use the score to sell vacuum cleaners with CGI cartoon characters and dead people; they can score a theme-park ride with it. We wanted to make sure that was not the case ever with their music. I was more than happy to give them as much creative control as possible.

And the score will get released at some point. Right now, they have a new album coming out, so their record label doesn't want to be throwing something else into the marketplace. I think they're going to put the score out in conjunction with the Blu-ray/DVD release, but I'm not sure. That's why I did the prequel music-video thing on I just wanted to get the music out there, and give people a little taste of it. But they really want people to discover the music as part of the theatrical experience. There's something exciting about having to go to the theater to hear the score, as opposed to just having it on iTunes. You'll be able to get it on iTunes later on. That's actually a really cool philosophy that I agree with them on.

Because the music score business has become such a boutique thing. I don't know of any studio or record label right now that's excited about releasing a film score. The expense of releasing it doesn't even balance out with the income. It's sad, because I love film scores. I have them on my iPod. It's some of my favorite music. I wish there were more people who felt that way.

Beaks: So did they use 70s instrumentation?

Kelly: Yes. The score was recorded over four days in Toronto. It was two days of strings, a day of brass, and a day of percussion. It was recorded at the Canadian Broadcasting Corporation in downtown Toronto, and all of the musicians were obviously classically trained. But there was a specific style that they were going for: they wanted it to sound very vintage and raw; they wanted the strings to sound rough around the edges. And they didn't want everything to sound all glossy and... computer smoothed-out.

Beaks: They didn't want Pro Tools.

Kelly: Right. They wanted it to sound like a vintage 1970s score. And a lot of the additional instruments that were used were very specific to the 1970s. They used a lot of Mellotron and stuff like that.

Beaks: If I were to place the score anywhere in Herrmann's oeuvre, I'd say it's definitely reflective of his 1970s collaborations with Scorsese and De Palma.

Kelly: Yes. Definitely.
Hope Richard Kelly is right about when the score will be released.

Thursday, November 05, 2009

Ah, the memories.

Quite possibly the best interview to date, on camera, with Arcade Fire.

Tuesday, November 03, 2009

Arcade Fire rumour of interest

A very reliable and hard-to-please source of mine recently had a chance to drop by the studio and hear early versions of songs from Arcade Fire’s forthcoming third LP, and he promised to give me a sense of what to expect. These are some phrases he used:


“More strings”

“More upbeat than Neon Bible”

“There’s a lot of Neil Young in Win’s voice”

“If these tracks were any indication, the album will be very, very good”

There you have it. Is it true? Who knows, but this is enough to get me excited! You know, as if I wasn't already... Neil Young huh? WOW!

Richard Kelly talks about working with Win, Régine & Owen

So it seems it's definitely Merge Records, Arcade Fire's record label, that don't want the score out there just yet now that the new Arcade Fire album is only a few months away. Unfortunate but can't say I blame them since they are such a relatively small record label and certainly rely on good sales for the new album from Arcade Fire.