Aging rock act on new album: This time we wanted to go back to the basics

Seems to me the issue with the "four guys in a room" type records is, it rarely seems like "four guys in a practice pad writing like their lives depending on it" and more often like "four guys in a room who want to do like two takes maximum because I'll punch a puppy if I have to look at your stupid face for one minute longer than I have to"

Which I believe was the original title of St Anger

https://thequietus.com/articles/25902-fennesz-agroa-stripped-back-album

Fennesz' new album, due in March, sees him go back to basics.

"It was all done on headphones, which was rather a frustrating situation at first but later on it felt like back in the day when I produced my first records in the 1990s," Fennesz says. "I used very minimal equipment. I didn't even have the courage to plug in all the gear and instruments which were at my disposal. I just used what was to hand."

He could have used the sample trigger software a friend developed in the 90s, called Back To Basics

http://www.wizardmaster.com/bludgeonsoft/btb/index.html

Former bedroom artists whose greatest successes are in the past trying to move back into shitty apartments where it all started

Fennesz' last album was one of his best though

https://www.residentadvisor.net/features/3125

And then there's Rainbow Mirror, the seven-LP, three-hour Prurient album that came out in December, which he said is more about the process of recording. [...] It was inspired by the very first Prurient show, back in Madison, Wisconsin in 1997, when Fernow performed as part of a trio in a public park, siphoning electricity from the city.

"Rainbow Mirror is a concept piece, like, an environmental piece," he said. "The idea of a three-man station, where each guy has their own setup that's crude and primitive. Rudimentary electronics that sounded familiar, but put together in an uncomfortable way. I wanted to get back to a group idea, but with actual restraint, and limitations, in a way that has maybe come from techno. I wanted to reference the very first show and doing something live as a unit. The way it's put together in this unsequenced, raw, live uncontrolled way [...] When I did this show 20 years ago, what made it good at all was that it was on the verge of failing.

fuckin A+ getting Prurient itt

Just three guys in a park, jamming with our trusty ol' synths, using a hacked streetlamp for juice. Just like the early Delta Bluesmen did, maaan.

https://pitchfork.com/news/the-black-keys-announce-new-album-lets-rock-share-new-song-eagle-birds-listen/

“When we’re together we are the Black Keys, that’s where that real magic is, and always has been since we were 16,” Auerbach said in statement. “The record is like a homage to electric guitar,” Carney added. “We took a simple approach and trimmed all the fat like we used to.”

bonus, the album is called "Let's Rock"

bonus, the album is called "Let's Rock"

ha ha ha ah ah

lol thought of this thread when I saw blurb about this album

i wonder if he actually said "a homage"

like out loud

and if he said "oh-Mage" or "Home-edge"

oh-Mage is not back-to-basics enough

wow Let's Rock 10/10

speaking of pitchfork

Sunn O)))
Life Metal

BEST NEW MUSIC
BY: GRAYSON HAVER CURRINEXPERIMENTALMETAL

The titanic drone metal duo returns with Steve Albini for an enormous, meticulous, back-to-basics album that shows just how compelling those basics can be.

oh wait, this thread is for artists saying that, not critics. my bad

I saw this black keys thing coming like 15 years ago

I'll never forget seeing them open for somebody in 2002 and thinking "well these guys will obviously never get anywhere with this dated BluesHammer schtick. It's 2002 already!"

I shall now get back to my basics by saying Great thread! Hadn't seen it before!
Get back was getting back to being clever cheeky monkey 60s Beatles with a taste for Southern sounds, including lifting from Chuck Berry=="Here come ol Flattop, he come groovin' up slowly," a direct rip, but then they put their own thing with it of course, also got Billy Preston or whomever playing electric piano, which wasn't touch-sensitive back in the day, so wisely not getting *that* back.
Dylan's "back to basics" in terms of sheer regression to an imaginary (in-terms of-Boy-Dylan-Folk-to-Punk-Laureate) past was Self Portrait, which he says in Chronicles was a fuck-you to the people who expected him to top himself with yet another Godhead masterpiece every time, and always did seem like escapism (understandable enough in the charred dawn of the 70s). But yeah Good As I Been and WGW were back to basics in a good way (it can be good).
Most of Eric Clapton's solo career is or comes from getting back to the basics, via three things, according to him: Music From Big Pink, new boss Rolling Stone crowning him "master of the blues cliché," when he stopped playing, Bruce and Baker kept going (this was an arena show). So he ditched Cream, as mentioned above hitched a ride with Delaney and Bonnie and Friends, as did George Harrison, Duane Allman, and maybe all of pre-Derek and the Dominos, who were not so very basic except very loud and intense and EC sacrificing his poor voice ("The doctors tell me I was born with a undersized diaphragm") to Harrison's perfidious or perhaps wised-up wife on the altar of Sincerity. After that, all roots, except when he recorded with guitar synthesizer and a few other brief detours. Even was quoted by Creem I think as saying he wished he'd never left Mayall's Bluesbreakers and started Cream.
Blind Faith was more basics than intended in that the label got greedy or maybe afraid of back to Baker's antics or EC's heroin etc. and put it out before they'd quite finished it, which adds to the relatively spare-room/halfway house atmosphere. Good of its kind, if you can stand it.

https://www.theguardian.com/music/2019/jun/29/matt-goss-bros-apparently-im-eccentric-im-fine-with-that

Aging pop act on forthcoming gigs:
Q: What can people expect from the gig?
Matt Goss: A back-to-basics, down-and-dirty gig. No big production, a bit more rock’n’roll. I’m playing guitar, I’ll jump on the piano a couple of times. We’re grown men now. We just want to plug in and play.

From the same interview:
Q: What else is in the pipeline?
Matt: I’ve written the lyrics for an Upstairs, Downstairs stage musical, which has been one of the most cerebral projects of my life.

National treasure status beckons.

just thirty cast members in a room

we’re grown men now

https://www.bucksherald.co.uk/whats-on/entertainment/suede-s-mat-osman-on-rekindling-the-band-s-fire-and-working-on-their-next-album-ahead-of-bucks-festival-date-1-8976333?fbclid=IwAR0WL8bjdgzEo2Xntu0oOnp4BigsM8qFxn-2AfB6sF2615BQGtYly7SfcT0

"Last time it was very heavily structured and had orchestras and spoken word and stuff like that," says Mat. "As usual, I think the next one will be the complete opposite. I think the next one we're going to try and record pretty much live, just five of us in a room - spend a lot of time rehearsing, and then try and capture something a bit more straightforward rock'n'roll, that live feeling."

ahah a perfect one !

that live feeling

Fans who have followed the band since the beginning may think of Let's Rock as a return to form: stripped-down, chugging, blues-rock that recalls their early days playing in garages and basements in Akron, Ohio. They say shedding the layered production that has characterized their later work was a natural move.

"We got together in the studio and it was like it was already agreed upon, but we hadn't even spoken about it: It was just going to be a guitar and drums record," Auerbach says. "There's no keyboards, no other musicians, no outside producers, just the two of us. After so many years apart, that was the way that it had to be."

from Goss:

Luke’s been staying with me in Vegas while we rehearse and we’ve been mucking around together, just being brothers. We played Marco Polo in the pool the other day for the first time in decades, which was hilarious. Luke came along to my show that night and was sitting in the front row, still shouting “Marco!” I was like “Fuck off, I’m busy!”

That Suede drummer one is so perfect.

Mike Rutherford on Genesis' Duke:

There seem to be a lot more group compositions coming out at the moment. And Then There Were Three had more individual songs but this one is getting back to the basic stage of ideas being worked on jointly.

Albums like Pin Ups or World Gone Wrong are a separate category--not "back to basics" but "back to my original inspiration."

Add Paul McCartney's Run Devil Run and Jeff Lynne's The Long Wave to that list.

Where do ukulele solo albums fit? (I can't remember who else did this besides Eddie Vedder, but I know there was at least one more.)

Back to basics: John Mellencamp's Dance Naked was a response to the failure of the more musically ambitious Human Wheels.

With Leonard Cohen or the Ramones, the follow up to a Phil Spector production can't help but be a back to basics.

Where do ukulele solo albums fit? (I can't remember who else did this besides Eddie Vedder, but I know there was at least one more.)

Please assure me that this never happened.

Amanda Palmer, that's the one I was thinking of.

And somebody had a project to gather uke covers of every Beatles song.

Every Genesis song, now you'd be talking

i would love to hear "return of the giant hogweed" on uke

i really liked wang chung's version of "rain" from that uke project, it's my favorite version of one of my favorite beatles songs

here is a great resource on ukulele players

https://www.ukulelemusicinfo.com/blog/famous-ukulele-players/

please enjoy reading about great ukulele players such as "Taylor Swift", "Lou Barbow", and "Barrack Obama"

ach go on then

https://www.youtube.com/watch?v=xBweqmLk6dU

don't know where else to post this but palmer appears fully nude on the cover of her latest album. saw it completely by chance on my most recent visit to barnes and noble. thought about lodging a complaint but it's not their fault, so i just took the cd and put it in the joe bonamassa section. sorry this has nothing to do with the topic of this thread whatsoever.

Wow. First time I understood the lyrics, I think.
(xpost)

so the lyrics aren't "kill the wabbit"?

Ha!

don't know where else to post this but palmer appears fully nude on the cover of her latest album. saw it completely by chance on my most recent visit to barnes and noble. thought about lodging a complaint but it's not their fault, so i just took the cd and put it in the joe bonamassa section. sorry this has nothing to do with the topic of this thread whatsoever.

― Totally different head. Totally. (Austin)

am now waiting for joe bonamassa to release an album with a nude photo of him on the cover so i can file it in the amanda palmer section

BONAMASSA: NO PEDALS, NO AMPS, NO PANTS!

BONAMASSA: Nothing On But Me Guitar!

BONAMASSA: I Named My Balls 'Blues' & 'Rock'

they're actually a good pairing, what with the overbearing everything and general insufferableness.

As the most commercially popular punk band in the history of the United States, Green Day have often admirably taken it on as their obligation to make Rock For Our Times, to heal — or, if the case requires, salt — our national wounds. It’s a tough gig. The Clash only had to make London Calling once; Green Day have been around for 34 years, six presidents, four or five stupid wars, a few global financial collapses, and 17 seasons of The Voice. That’s a lot of American shitpocalypse to churn through.

Sometimes the band has leapt into its role as generational spokespunks (2004’s landmark American Idiot); at other times, they’ve seemed to sort of slide there by default (2016’s Revolution Radio). Their latest album arrives at the dawn of an election year, but this time out, if you’re expecting the band to cater to our pain and spray-paint another blood-red Rorschach on the Washington Monument or tell you who to vote for in the New Hampshire primary, well, you’re going to have to get that advice from Paul Krugman or Bon Iver or whoever. If you’re just looking for some catchy pop-punk rock & roll tunes, they’ve written 10 of those, and most of them are real good.

The band heard on Father of All Motherfuckers (or Father of All…, as it’s being sold at the Safemart over in Cowardsville) sounds refreshingly, almost Kerplunk-ishly, unburdened by legacy or accrued stature. While the album’s title might reasonably describe the current occupant of the White House, Billie Joe Armstrong recently told Rolling Stone that the band specifically set out not to waste their time on a bunch of songs about Trump. Instead, they wrote a bunch of songs about being middle-aged rockers in love with their record collection. In some ways, Father of All… recalls 2000’s Warning, an album released at the nadir of alt-rock’s cultural reach in which they displayed their mastery of vintage rock songcraft. Like that record, this one seems uniquely minor for Green Day, both in design and execution, and in a good way.

https://pbs.twimg.com/media/EQMje4tX0AgzgAI?format=jpg&name=small