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Warm chip It was not sold on the idea of the largest hits albums. “We’ve always been a little like:” Do we really have to do that? “Penalty Frontmen Banda alexis Taylor Bilbord While chatting from the native city of the group of London. “I guess it just didn’t look so important to us.”
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But the project, which Hot Chip was invited to work on their long-term Domino Records mark, eventually became a way for beloved indie dance The equipment for reviewing its history celebrates the 20th anniversary of its debut part of 2005. years I come strong And participate in the thought experiment that the songs in the same album Hot Chip Catalog, the best best define.
“I mean, we didn’t have great rows or anything,” Taylor says, but it was not the easiest decision-making process. ”
Finally, the band – Taylor, Joe Goddard, Al Doyle, Oven Clarke and Felix Martin defined the intellect, sensitivity and melancholy shelter, which exist in most music that exist in most music in most music that require tempoli. As a club and festivals around the world know, hot chips shows are a party, and that is the mood of enjoyment that the band tried to catch the choice of finally decided Joy in repetitionwhich domino was released at 6. September.
“We’ve been thinking about what songs were essential for their lives and what songs they ate there, even if they were not the latest material,” Taylor says. “These are songs that feel like an essential and central part of a living show.”
Named on the texts of the band band 2006 Classic “Over and more years” Joy in repetition It also includes a couple of remixes – one in 2008. years “ready for the floor” and one of “commitment”, a new song published as part of compilation. Taylor says he made this new tracks a good way for the band to stretch his legs after a recent break and adds it just a hint of a new music hot chip right now.
“So this project is not marked by the band,” Taylor says. “There’s always a new album that comes with us.”
Here, Taylor divides the background of six things for hot chips.
“Ready for the floor” (Made in the dark2008)
“Ready for the floor” he was a demo joe that brought to all of us. The whole band was together when we worked on it and I felt like it was a lot of tension in the room, because we would try to make another song and it really wasn’t. I felt like Joe was frustrated not to do that, and you can see that frustration in his body language.
As soon as he played me and the other guys music for what it became “ready for the floor”, I felt that I was so good I could sing him right now. Some of these words were very encouraging, like, “You’re my boyfriend.” “We are ready for the floor” as well, we are ready to do something for the dance floor. It’s about people who come together. The other words in it was more about there was some kind of invisible barrier and tension, like “I can’t hear your voice, do I have a choice?” So it was in an attempt to break through that communication in the song.
She really gathered quickly, and there were a lot of group decisions and group vocals and harmonizing parts and guitars. But only to briefly remember what my life was that time, I think I started to sell cars, as well as fleas of flea market, and I bought this keyboard, and I bought it on the keyboard. I liked that when I saw another one when I bought it Joe and that was something that used for some sounds in this song. So, I have memories of being like you can buy an old Yamaha keyboard for two kilograms and is useful for Joe in some creative way, and that is in that incredible production.
“The school boy” (Warning2006)
We must have finished the first Hot Chip album, maybe she hasn’t even exited yet. We collected in Joe’s family house where he still lived at that moment. There were several keyboards in his bedroom and not many other music equipment. I had a Yamaha keyboard I described, and then it was at the first album Hot Chip, like any song, if not every song. It was my step on writing a device.
I really loved music Robert Wyatt. I’m still working. I listened to these albums Robert VIATT during work in office business in the Domino record label that our band is now signed. “The boy from the school” looked over my school days and trying to make a song inspired by the sound I heard in this Robert Wyatt Records. His voice is very high and sad. The albums I really liked those who made in the middle ’80, and this Casio keyboard had something about that quality. But I didn’t try to copy his music. It was somewhere in the background.
The reason I showed up the “Chords of Chords, Melody and Words School, was what I was translated into his school days and it was nostalgic to look back during that time. I left Joe’s room where we recorded and entered the next bedroom for his brother. I was a friend with Joe and (His brother) at school, so this place I used to stay to stay with sleep. We would all play Oasis or Pavement Songs on the guitar and watch videos and stay up to all night. So I knew that room, and Joe’s brother wasn’t at home, so I entered myself there for some time and quickly wrote “Boy from School”.
I used Casio and had a drummer machine of Vartz time (before installation.) I went back to the room and played him Joe and said, “I really like it.” Things to me. “Let’s calm him down.” Then after recording exactly what I wrote, he had an idea that it could be provided as a disco song. We changed it from this waltz tempo and still kept that melancholic feeling of melody and words about longing and loss, which were interpretation of the school relationship I had with someone. We currently improve as a Uptempo disco song. There was something we thought it would be single, but we felt that she had an emotional core that we really like it, especially in combination with a disco or home pace and grooves, which was quite new for us.
So I think it was a really important song, because it almost became a draft for what the music with a hot chip – which is a melancholian meeting with dance music.
“Huarache Lamp” (Why does it make sense2015.)
This was made in Joe’s home study. I think it started before I was there. Some patterns he put in the track was a large part of his atmosphere. There was little sampling here, but (the use of Lin Collins “to think (about it)”) was the most important use of sampling in the wheels for a hot chip. She had a certain energy to have a vocull of the soul inside her, and then rhythmically felt really interesting. It felt like chords change in an unconventional way, a bit like “flute” actually, where there is a sample with a 12-year-old pattern.
I don’t know why, but I was trying to say something that recognized, “I think we are still good and we are still relevant” while we also invite the younger audience of music manufacturers to pass and replace us and replaced us. Hence this idea “replace things that do the job better”. It’s this call that says if we become a dance music, maybe we can recognize that process of aging and we can tell it, we can see if someone can go through it as good as we are as good as we are. “
There were a lot of conversations in the band about whether we are still relevant. So, I say here “Look, we are in fact.”
“Flute” (In our heads2012)
This was the one where he sent me an instrumental demo from Joe and we worked separately, so it was just a file in email. The moment I opened it and listened to him in the logic or garage, I just looked at the music and rhythms that followed the same rhythmic patterns that were in a monk sample in a sample in Joe sample.
I didn’t know what I wanted to say. I answered in a very current way of awareness of music and trying to describe where I was physically in the room I was and the sounds I wanted to add it. It is a course of consciousness, but it is also a memory of things that are important for a hot chip, so when I put it in a row today, “I was thinking about the days spent when we were younger Bois Beach‘ The pet sounds And thinking about their approach to music, which you banned an influential instrument, like a banjo, and layer at the top of the comb and you agree to the top of the accordion. For us, it was the basis as a big, inventive production in music.
Obviously, we didn’t make music to do those precise things, but somewhere in me, I was thinking about what was important for a hot chip, then added my percussion.
“I feel better” (One life attitude2010)
I’m pretty sure Joe said he was watching this very main TV talent show that was big in the UK at that time. I don’t remember who was, but it had an artist who was an older lady called Susan Boyle. She had some flew hit song, and Joe was inspired by arrangement of a series in it and doing something orchestrally.
At that moment, the automatic melody was a big deal in music, but we never used it and that they used it consciously looked like a bold step. It was like saying, “Everyone does it in hip-hop and R & B and pop and we will do it.”
Quite interesting things come out of masking your voice in automatic melody. It can lead to things that are emotionally connected than when it is just your true voice. It depends on how it is used and what you are saying and the sound of voice, but I definitely found such moments. When Joe did it, I thought it was a striking quality on that, but it was also feels like his words were quite long. At first I didn’t really understand how to develop into a finished pop song, so I came to that a little more than a pop pop perspective.
For the first time I’ve ever, I thought it was ok to hug the main pop inspiration Madonna. It was, it could be our big pop moment and I don’t think we need to eradicate the desire to go in that direction. I think it was exciting to imagine that it could be a breakthrough track. Don’t always think about these things in the studio, but I remember that we were all aware of that, and everyone was encouraged to continue developing.
“Look where we are” (In our heads2012)
I am really proud of this collection of songs. There are some obvious that are important for our history, such as “over and higher”, is probably one of the most important tracks there. But then something like “look at where we are” is nice, because there was a lot of time, especially while on tours in America, that the song is associated with the audience. It is inspired by R & B and HIP-SHOP in production, and also those types of melodies and hobs – even though we have singed us and we have no smooth voices of Whitney Houston or Brandi or whomever. It is our authority that, which was important.
Also as the only trace on DonTempa or medium pace on the compilation, I was glad that it managed to go there, because we are something victim of our interest in all that applies to the party. What makes living really high energy, sometimes so much that is exhausting audiences because there is no break. We always try to find a way to include these ballads or slower songs, but they don’t always fit because they feel so strange in-turn in the set, and yet they are so important to us.
