self-titled - no. 1 - (Page 19) BURNING QUESTION Booka Shade You obviously approached your new album, The Sun & the Neon Light (Get Physical), from more of a home-listening standpoint. There’s even a double-disc version with a “dance mix” of the new material. In the process, you made one of the most listenable electronic-based records self-titled has heard in a while. So our one question is simple: Why the headphone-centric focus instead of another album of heady bangers? Booka Shade’s Walter Merzinger and Arno Kammermeier respond: A couple of reasons: After [the 2006 album] Movements, which featured five major club hits [including “Body Language,” “In White Rooms” and “Darko”], it was time for us to try something different. We didn’t want to repeat ourselves, and we didn’t want to produce a pure dance-floor album. If we were signed to a major record company, I’m sure they would have said, “Do Movements 2, and you’ll sell even more.” But that’s never been what we’re about. We like to take risks. You see, when “Body Language” came out, it was radically different from anything that was out there in the clubs. It took a couple of months, actually, until people understood it and embraced the bass-line melody. “Mandarine Girl” and “In White Rooms” worked with melodic riffs as well. When we started working on the new album 15 months ago, we threw away all ideas that sounded like the above songs. It took the first five months to find a “new musical language” for the album. We wanted the night feel and the cinematic textures of our first album, Memento, combined with the strong melodic songwriting of Movements. The song “Duke” [from The Sun & the Neon Light] was the first one that gave us a hint of how the album will sound. The first two albums were completely produced with soft synths, which means it was all done inside the computer. For The Sun & the Neon Light we were looking for a more organic sound with more depth and texture. That’s why we recorded a string orchestra for two songs, as well as a lot of acoustic instruments and analog gear for equalization and distortion. We also wanted to try out more vocals because we received very good feedback on the single “Numbers” from the DJ-Kicks compilation we did in 2007. We heard that it was high in the campus radio charts in Canada and the United States, and it was played on daytime national radio in Australia. Another reason we didn’t want a pure dance-floor album is based on the fact that we play more and more concert venues and less late-night “disco” shows. Playing live has become very important for us—people like the energetic live show when we perform. But this absolutely doesn’t mean we don’t like club music anymore! We’re a band that comes from the dance floor. http://www.bookashade.com/
Table of Contents Feed for the Digital Edition of self-titled - no. 1 self-titled - no. 1 Contents Spiritualized No Age Les Savy Fav The Teenagers Booka Shade Michael Gira Ellen Allien Magik Markers Jens Lekman Yeasayer Daptone Records Tipping Point Boris Fiery Furnaces Black Dice Black Mountain The Black Lips self-titled - no. 1 self-titled - no. 1 - self-titled - no. 1 (Page 1) self-titled - no. 1 - self-titled - no. 1 (Page 2) self-titled - no. 1 - self-titled - no. 1 (Page 3) self-titled - no. 1 - self-titled - no. 1 (Page 4) self-titled - no. 1 - self-titled - no. 1 (Page 5) self-titled - no. 1 - self-titled - no. 1 (Page 6) self-titled - no. 1 - self-titled - no. 1 (Page 7) self-titled - no. 1 - Contents (Page 8) self-titled - no. 1 - Contents (Page 9) self-titled - no. 1 - Contents (Page 10) self-titled - no. 1 - Contents (Page 11) self-titled - no. 1 - Spiritualized (Page 12) self-titled - no. 1 - Spiritualized (Page 13) self-titled - no. 1 - Spiritualized (Page 14) self-titled - no. 1 - Spiritualized (Page 15) self-titled - no. 1 - No Age (Page 16) self-titled - no. 1 - No Age (Page 17) self-titled - no. 1 - The Teenagers (Page 18) self-titled - no. 1 - Booka Shade (Page 19) self-titled - no. 1 - Michael Gira (Page 20) self-titled - no. 1 - Michael Gira (Page 21) self-titled - no. 1 - Ellen Allien (Page 22) self-titled - no. 1 - Ellen Allien (Page 23) self-titled - no. 1 - Ellen Allien (Page 24) self-titled - no. 1 - Ellen Allien (Page 25) self-titled - no. 1 - Ellen Allien (Page 26) self-titled - no. 1 - Magik Markers (Page 27) self-titled - no. 1 - Jens Lekman (Page 28) self-titled - no. 1 - Jens Lekman (Page 29) self-titled - no. 1 - Yeasayer (Page 30) self-titled - no. 1 - Yeasayer (Page 31) self-titled - no. 1 - Daptone Records (Page 32) self-titled - no. 1 - Tipping Point (Page 33) self-titled - no. 1 - Tipping Point (Page 34) self-titled - no. 1 - Tipping Point (Page 35) self-titled - no. 1 - Boris (Page 36) self-titled - no. 1 - Boris (Page 37) self-titled - no. 1 - Boris (Page 38) self-titled - no. 1 - Fiery Furnaces (Page 39) self-titled - no. 1 - Fiery Furnaces (Page 40) self-titled - no. 1 - Fiery Furnaces (Page 41) self-titled - no. 1 - Black Dice (Page 42) self-titled - no. 1 - Black Dice (Page 43) self-titled - no. 1 - Black Dice (Page 44) self-titled - no. 1 - Black Dice (Page 45) self-titled - no. 1 - Black Dice (Page 46) self-titled - no. 1 - Black Dice (Page 47) self-titled - no. 1 - Black Mountain (Page 48) self-titled - no. 1 - Black Mountain (Page 49) self-titled - no. 1 - Black Mountain (Page 50) self-titled - no. 1 - Black Mountain (Page 51) self-titled - no. 1 - Black Mountain (Page 52) self-titled - no. 1 - Black Mountain (Page 53) self-titled - no. 1 - The Black Lips (Page 54) self-titled - no. 1 - The Black Lips (Page 55) self-titled - no. 1 - The Black Lips (Page 56) self-titled - no. 1 - The Black Lips (Page 57) self-titled - no. 1 - The Black Lips (Page 58) self-titled - no. 1 - The Black Lips (Page 59) self-titled - no. 1 - The Black Lips (Page 60) self-titled - no. 1 - The Black Lips (Page 61) self-titled - no. 1 - The Black Lips (Page 62) self-titled - no. 1 - The Black Lips (Page 63) self-titled - no. 1 - The Black Lips (Page 64) self-titled - no. 1 - The Black Lips (Page 65) self-titled - no. 1 - The Black Lips (Page 66)
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