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The tour is coming up friends and hopefully there will be a lot of talking and writing about the soon to be released Album If not now,when?. This thread is meant to collect all the links worldwide where Anything Incubus has been covered the past weeks and will be covered in the future. 

 

Not only is it interesting to see how different the views are culturally and between nations, but also how the media landscape will change in time.

 

So, let's start an archive for every one to access and read whenever wanted.

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Recensione: Ben Kenney + Sever live @ Interstate Studio 270 – 03/10/13

8. Oktober 2013 um 12:34

Di Nicola Merlino

 

 “There is no place I avoid playing. When I plan to tour my management looks for every reasonable opportunity and together we come up with the best possible plan. I don’t skip over countries or cities. I think it’s important to point out that my solo project is a very modest sized endeavor that many concert promoters take a risk bringing to town. Many of them did it on good faith out of respect for Incubus.

And many of them haven’t yet. I can’t blame them for that. My music doesn’t get played on the radio. My albums don’t get reviewed in magazines. The only people who find me are people like you, people who don’t need a magazine to tell them that there’s more music than what gets handed to them. And every single day of my life I’m thankful that even in a world transfixed on insta-sextape fame I can make jams in my crib and jump in the tour van.”

 

-          Ben

 

All’inizio della carriera di ogni musicista arriva un particolare momento rivelatorio, un epifanico colpo di fulmine. In quel preciso istante l’emisfero destro e sinistro del cervello si mettono magicamente d’accordo e ti spediscono l’intuizione bomba: “Si può fare veramente questo come lavoro?! Davvero c’è gente che suona la chitarra per vivere? Mi state prendendo in giro? No, perché in tal caso lo voglio fare anch’io!”

Un “What tha fuck moment” a metà tra lo shock e la motivazione più pura. Una volta questo stimolo arrivava all’improvviso ascoltando i vecchi dischi della zia un po’ matta o guardando Mtv, quando ancora si occupava di musica e mandava in onda ‘Headbangers Ball’ e ‘Yo!’… all’epoca ‘Sixteen and Pregnant’ era ancora fuori dai radar dei producer televisivi. Oggi invece sembra siano X Factor e gli altri talent le principali scintille scatenanti. Tragicamente appare anche come queste fabbriche di meteore vestite male siano al contempo l’obiettivo massimo delle wannabe popstar. Evidentemente qualcosa si è rotto.

Il “WTF moment” di Ben Kenney è arrivato invece sul divano di casa, seduto tra suo fratello e suo padre, davanti alla VHS ‘Arena: An Absurd Notion’ dei Duran Duran, una follia a metà tra il film di fantascienza e il concerto dal vivo…

 

 

3 Ottobre ’13, Tricesimo, UD – Oggi dall’uscita di quella cassetta sono passati circa 28 anni, ma non è di Simon Le Bon che dobbiamo parlare. Inutile nasconderlo, l’emozione è grande all’Interstate Studio 270, sicuramente perché è il calcio d’inizio di una nuova stagione di concerti, ma principalmente per l’artista internazionale che calcherà il palco del club. Ladies and rockers: Ben Kenney!

Ben è conosciuto dai fan principalmente  come bassista degli Incubus. E’ entrato a far parte della band nel 2003, prendendo il posto lasciato vacante da Dirk Lance e partecipando in maniera diretta alla svolta alternative del sound del quintetto di Calabasas.

I più informati che passano le ore tra Pitchfork e Rockol probabilmente se lo ricorderanno pure alla chitarra dei The Roots. Tra il 2000 e il 2003 ha suonato al fianco di Questlove e Black Thought con i quali ha registrato Phrenology, l’album che li ha consacrati e portati nelle classifiche europee (ricordate The Seed 2.0?).

Nel frattempo Ben ha trovato anche il tempo per coltivare una carriera solista piuttosto prolifica, mandando alle stampe 5 dischi in 9 anni, ed è proprio l’uscita dell’Ep ‘Leave on Your Make Up’ a portare Ben on the road su entrambi i lati dell’Atlantico.

 

Ben Kenney è un’artista sorprendente. Ti aspetteresti di vederlo suonare il basso alla grande circondato dai soliti anonimi turnisti, invece imbraccia una bellissima Gibson Les Paul a doppia spalla mancante e canta, porca miseria se canta!

A dargli man forte sono Ashley Mendel al basso, Ari Sadowitz alla seconda chitarra solista e Simon Harding alla batteria. Questi ultimi chiaramente non sono solo dei musicisti assunti per suonare in un tour europeo, ma una vero e proprio gruppo d’amici che non perde occasione per dimostrare sul palco quanto si divertano a suonare insieme.

 

Se gli show che Ben offre insieme agli Incubus hanno raggiunto proporzioni davvero da top band, questo tour offre invece una dimensione decisamente più raccolta. Suonare nei club è chiaramente diverso da salire sul palco del castello di Vigevano: “Riguarda l’essere li, sudare sul palco e sentire il pubblico che ti sta a un passo…”.

Come ci ha confidato lui stesso, avere la possibilità di potersi confrontare sia con le grandi folle con una band dal successo internazionale, sia con questo progetto più intimo, la considera la cosa più bella del mondo. E si vede.

In questa veste Ben è libero di sciogliere la vena da shredder e il suo background punk. Il sound prodotto è la perfetta sintesi degli ultimi Incubus e delle sue maggiori influenze, Police e Dead Kennedys su tutti. Sorprende la sinergia tra le due chitarre, che si alternano e sovrappongono  tra raffinati virtuosismi e intricati arpeggi, retti da pattern ritmici mai banali che ti aspetteresti da un disco dei King Crimson.

 

 

Per essere un giovedì sera il 270 è piuttosto gremito, e i musicisti tra il pubblico sono davvero parecchi. L’apertura della serata spetta agli udinesi Sever. Band sospesa tra il ruvido impatto del Nu-metal e melodiche timbriche alternative di scuola ‘Karnivool’, sono stati protagonisti di un breve set di poco più di mezz’ora ma di grande qualità ed energia.

Il quartetto composto da Tax alla voce, Zero alla chitarra, Naz al basso ed Emi dietro le pelli dimostra già da subito un notevole feeling e personalità sul palco, forti di vecchie esperienze live anche su palchi prestigiosi. Le loro principali influenze possono essere identificate immediatamente nei Deftones di Chino Moreno e (guarda caso) nei primi Incubus, tuttavia non cadono nel tranello di fotocopiare queste  band proponendo un mix originale ed un impatto musicale davvero convincente. All’attivo hanno un ep di due tracce ed attualmente stanno producendo i loro primo album in studio, ma il consiglio come sempre è quello di andarli a vedere dal video al più presto. Sono un gruppo promettente che cresce di concerto in concerto, non ne rimarrete delusi.

 

Il concerto di Ben Kenney e soci inizia intorno alle 23 e la setlist spazia sulle canzoni di quattro album, con particolare attenzione riservata agli ultimi due ‘Burn the Tapes’ e ‘Leave on your Make Up’.

Dopo un giocoso intro tocca subito al metallico riff di ‘Not Today’ seguita dalla title track dal sapore post grunge ‘Leave On Your Make Up’. 

Tra una canzone e l’altra il quartetto jamma tra intermezzi funk, riff distesi e groove ripresi dal reggae. ‘Habit’ inaugura un trittico ripreso da BTT, con una versione dilatata di ‘Heemtro’ e il punk di ‘Aftertouch’. La comunicazione musicale accelera e, lasciando da parte l’enfasi sui mezzi tecnici dimostrati, Ben, Ari, Ashley e Simon non perdono il sorriso neanche per un singolo istante. Non è azzardato supporre che quelli che si divertono di più sono proprio loro, su ‘Wrong’ partono addirittura delle mosse di danza sincronizzate! Il crescendo trainante di Rubber Sheets è sicuramente uno degli highlight della serata, con un assolo inebriante, roba da farti cadere la birra di mano come in preda ad una sbronza d’etere. Per spezzare il ritmo tra l’energia delle canzoni, oltre che per asciugare il sudore, i quattro trovano il tempo d’intrattenere il pubblico con qualche parola, tra i classici “How’s it going” e gli appunti sulle proprietà euforizzanti del vino che non hanno mancato di riscuotere la classica risposta del pubblico italiano: il pedissequo “Yeeeeah”!

Il terzetto finale è un vero un concerto nel concerto. Si apre con la dolce ‘Worlds Collide’ riletta in chiave di ballad mid-tempo ed accompagnata da un sing-a-long da parte del pubblico. I ritmi riaccelerano su ‘Eulogy’ dove il suo potente riff fa da perfetto contraltare alla voce sempre pulita e cristallina anche alle note più alte di Ben. Il finale è invece affidato al pezzo più bello dell’ultimo album ‘Let’s be Honest’, ideale ed intensa conclusione di un concerto vissuto a tutta, di quelli che ti lasciano felice e grato di non essere rimasto a poltrire sul divano.

 

 

Quello che ha aperto la stagione dei concerti all’Interstate è stato uno show di grandissimo livello, dove la dimensione ridotta della venue rispetto alle grandi arene visitate con gli Incubus non ha limitato l’entusiasmo di quella che è a tutti gli effetti una rockstar, ma anche un campione di disponibilità e una persona meravigliosa che non ha mancato di salutare calorosamente tutti prima d’andarsene.

Se uno show degli Incubus può portare a uno di quei “WTF moments” che ti spingono a prendere in mano una chitarra per scrivere le tue canzoni, uno show di Ben Kenney lascia a chi suona un messaggio se possibile ancora più importante: (parafrasando una sua intervista e quello che abbiamo potuto apprezzare sul palco) se volete suonare per diventare ricchi fate altro, se volete suonare perché volete diventare famosi prendete un’altra via, ma se invece suonate perché sentite di voler condividere con la gente le vostre canzoni, perché il palco è il posto dove siete più felici al mondo e la musica è quella cosa che vi spinge a tirare fuori il meglio di voi,  beh… forse avete imboccato la strada giusta. Raramente si incontrano persone in cui si riconoscono al volo tali caratteristiche, ma credetemi: se c’è un uomo che appartiene al palco quello è proprio Ben Kenney!

 

 

 

Setlist:

1) Intro

2) Not Today

3)Leave On Your Make Up

4) Habit

5) Heemtro

6) Aftertouch

7) Concord

8) Rubber Sheets

9) How Wold You Know

10) Wrong

11) New Amsterdam

12) Worlds Collide

13) Eulogy

14) Let’s Be Honest

 

 

 

 

LINKS:

 

- Tutte le foto del concerto: https://www.facebook.com/media/set/?set=a.458388280941789.107374184...

- Meet & Greet: https://www.facebook.com/media/set/?set=a.458262344287716.107374184...

- Video della serata (fan video): http://www.youtube.com/watch?v=YmXJrBUTpFs&feature=youtu.be  http://www.youtube.com/watch?v=fqVQxw2z8Wk&feature=youtu.be

 

Ben Kenney

- Sito ufficiale: http://www.benkenney.com/

- Tumblr: http://vatoben.tumblr.com/

- Twitter: https://twitter.com/vatoben

- Facebook: https://www.facebook.com/benkenneymusic?fref=ts

 

(dal sito potete scaricare i vecchi album di ben e vedere il rockumentario su Burn the Tapes)

 

Sever:

- Reverbnation: http://www.reverbnation.com/severline

- Facebook: https://www.facebook.com/severlineband?fref=ts

Incubus Guitarist Mike Einziger: Musical Mentor To The R&B Set

10.24.13

Christina Lee

Incubus and Frank Ocean, they may not seem like artists that would ever be uttered in the same breath, but at 2012′s Coachella Valley Music and Arts Festival they became utterly entwined. There, guitarist Mike Einziger teamed up with theChannel Orange singer, opening the door for even more seemingly incongruous collaborations as the months and years wore on.

Although Incubus is on a hiatus of sorts, the denizens of the alt-rock band are far from idle — while Brandon Boyd has been going strong with his new Sons Of The Sea project, Einziger has been going his own way.

Flashback to that fateful day at Coachella: It was the fest’s second weekend in 2012, and Frank Ocean had just sung a crucial line: “Met her at Coachella.” As if on cue, the crowd roared. Throughout, Incubus guitarist Mike Einziger stood nearby.

Just a couple of days prior, he had arrived at the Indio, California, festival grounds to help Ocean start his festival set from scratch, with a new band and setlist and without the feedback and squealing sounds that plagued his first performance. Given how Incubus rose to mainstream fame with 2001′s Make Yourself (Rolling Stone: “that rare breed: a nü-metal band with both a DJ and a hefty female fan base”), Einziger’s presence was unexpected. But as Ocean’s second Coachella set wore on, it proved to be necessary.

It also led to some of Einziger’s most intriguing producing gigs as of late: Yuna‘s new lead single “I Wanna Go,” The Internet’s woozy psychedelic soul effort Feel Good, and the upcoming  solo debut by The Cool Kids‘ Chuck Inglish, which has been described as a “rap Prince album.” And as the featured guitarist, he provided the acoustic twist in Avicii‘s country-meets-EDM, millions-selling “Wake Me Up.”

Einziger took a break from a studio session last week to discuss his recent production credits, collaborations with Chad Hugo, and how Kanye West opened his mind to rap-oriented possibilities.

You had produced [Jason Schwartzman's, under Coconut Records]Nighttiming about six years prior to Feel Good. How did producingNighttiming compare to executive producing Feel Good?

They were just different processes. The Internet, they’re a larger group of people that write collaboratively with each other. Obviously Syd [tha Kyd] and Matt [Martians] are the two main writers, and then the other members of the band are often very active…. There were some songs that I was very much involved in, and then there were some songs that I would barely offer input at all. “Executive producer,” I guess the definition of that would be more so of a general overseer; I was more of a musical mentor.

I did get very involved in producing specific songs, like the single “Dontcha.” I co-wrote and brought in Chad Hugo for that. I had double-booked on accident. He was coming to stay with me for this one specific weekend. The Internet, at the time they could only work weekends as well. So I just said, “Hey, would you mind if we brought Chad into this session?” They were freaking out. They’re huge N.E.R.D. fans, hugeNeptunes fans — as am I, so it was really fun for me too. Chad and I had written some instrumental music together, but that was the first time we had collaborated together in that sort of process and gotten together with all of those guys.

Nighttiming wasn’t even intended to be an album. Jason and I were sort of hanging out together, and he’d been going through personal stuff. We were out one night at this party, and he was like, “Can we leave and make some music?” So we did. We just didn’t stop for 10 days. We just went back to my house, plugged in some things and started playing. What we were doing sounded really good, and I think Jason was really surprised. All of a sudden we had one song, and we had two songs, and we had three songs.

Jason played me 100 song ideas that he had; they were all 15 seconds long. We picked 20 of them, and I didn’t even make it through all of the ideas. We started putting together songs, and the entire time he kept saying, “We’re not recording an album, right?” I think he was just scared that it wouldn’t be taken seriously because of his background in acting. People are so harsh and so critical of what everybody does, so I can’t blame him for that. The difference with Jason is that Jason is crazy talented — one of the most prolific writers I’ve ever seen.

That process, like I said, it was really different. Nighttiming was a big surprise for me and my guys. Actually, I wasn’t planning on producing an album at that time either. I hadn’t really produced any record, other than the work I had done with my band.

It does sound that way. Now I feel kind of silly comparing the two. It often seems that a producer tackles a set list of tasks, whereas in reality, you never know what that entails.

The thing is, with producers in general, the way we interact with different artists is sort of infinitely variated. There are some producers who don’t do anything; they’re just in the room, and they make the artist feel good. I’ve always been very hands-on, just because it’s my nature. The thing is, when people seek me out, that’s what they’re looking for, you know?

Before I ask you more about that, you said that you and Chad Hugo were working on instrumentals. For what, exactly?

We’ve written probably five or six instrumental tracks at this point that we’re just saving for a rainy day. I don’t know what we’re gonna do with them yet. We’ll see. Really cool stuff. When you work with him, you can hear so much of what was so great in all of those Neptunes tracks.

How did you guys meet?

We had met maybe 10 years ago at a restaurant in Hollywood. Chad and Pharrell were just there, and we bumped into each other at the entrance and just got to talking. They were both very cool and very sort of expressive of wanting to get together and make music. We both exchanged numbers, but I don’t know, we were all just busy doing different stuff.

Once I got off the road last year and knew I was going to be spending a lot of time doing production and working on different albums and writing songs with different artists, I thought back to that interaction. So I got back in touch with him through a really good friend of mine that I’ve known for many years and was involved with his management. Before I knew it, Chad was staying at my house and we were making music.

You mentioned that you basically mentored the Internet. What was a lesson that you stressed to the Internet, and what did you learn from being executive producer?

I think it’s pretty safe to say that Odd Future has become one of the most influential hip-hop collectives of the last 10 years. They’re so diverse in what they do, and just being around them and that useful creative energy, it’s wonderful for somebody like me. I’m 37 years old, and I’ve been making music for a really long time. It’s just an amazing reminder that the inspiration can come from finding ways to make it new again.

For them, I think being able to have somebody who’s been through it a few times, that process of writing music and the indecision, is good. People have a hard time finishing something; I think that’s the most difficult phase. One of the things that I hopefully was able to impart was the importance of getting to a place where it’s done and then releasing it, letting it go. I think they really did that.

Photo credit: Ethan Miller/Getty Images

When you were lining up production work, were you looking specifically to work with younger artists?

It’s interesting — I didn’t really know exactly what I was looking for. I knew that I wanted to have some new musical experiences, and it was interesting what came my way. The way I hooked up with Odd Future was through Frank Ocean. He was performing at Coachella in 2012. The first weekend, apparently the show didn’t go very well and he had some issues with musicians. I don’t really know those details, but [his camp] called me up to come in and help get everything really tight. We brought in new musicians and, within two to three days, got it together for the second weekend. It was challenging, but awesome because Frank, I was a big fan of his voice and his songwriting. The show went well.

That’s when I met Syd, that’s when I met Matt. I also did some work with Hodgy Beats and Left Brain for Mellowhype, that album Numbers ["P2"]. I recorded some things with Tyler [, the Creator] as well. I just found myself in the middle of what they were doing, and I found it musically exciting. It was just drastically different from what I had been doing and was accustomed to being around, and I took that as a good sign. All of a sudden, here I am in these new surroundings, with good people. And, I never realized how much fun I would have making hip-hop music, with these really great young artists.

Chuck Inglish’s new album [Convertibles, out February 11], it’s almost done. I’m really excited for people to hear it. Have you heard “Came Thru/Easily” yet? It’s new Chuck Inglish featuring Mac Miller and Ab-Soul that I mixed and produced. It came out just a few days ago.

Actually, I checked it out earlier today.

I didn’t know what type of artists I would be working with. What I did know was that I wanted to spend some time away from working with rock bands, unless it was a band that really blew my mind. I wanted to just get my head into a different place.

How familiar were you with hip-hop, going into Chuck’s album?

I grew up listening to a lot of hip-hop music, but I would never call myself a knowledgeable person in the area of hip-hop. But I also think that might be a reason why it works well for me, because I might not be so inclined to do things that are really common in that musical sphere. I think maybe that’s why a lot of people that are working with me seek me out, because maybe I’ll make different decisions.

When Jon Brion did that collaboration with Kanye West [Ed: He co-produced Late Registration], I thought that was most brilliant thing in the world. Jon Brion is one of my favorite artists and composers, and obviously Kanye is very brilliant. It opened up a lot of possibilities in my mind for what can happen with that type of collaboration. To make hip-hop really musical, that idea’s really exciting to me.

Chuck has said that his album is gonna be his “Prince rap album.” How are you working to make that happen?

That’s sort of a specific era of production — the early ’80s with Michael Jackson‘s and Prince‘s records. Not that those two sound alike, but there are some parallels. That was such an exciting time; I was really brought up on all of that music. So we drew from that palette of sounds and some of the feelings that were advanced with those recordings.

There’s a song on there called “Legs” — that’s Chuck Inglish featuring Chromeo. That’s one of my favorite songs on the album, and it really just embodies that sort of Quincy Jones era of production, really exciting stuff and great string arrangements. I really tried to help Chuck find that, and I think that we nailed it in those tracks.

Of all the collaborations you’ve had as of late, which has been the most surprising?

The Avicii collaboration was definitely surprising for a lot of reasons. I had no idea that he and I would have the sort of musical collaboration that we had, and the way we wrote “Wake Me Up” was so organic and so unforced. It was, for a lack of better term, magic. I can’t even say it it enough — it was definitely surprising to me.

He’s a great musician, and he’s at a really good place. He knows what he likes. Remember what I was talking about with finishing something, making decisions and committing? That’s an area where Avicii, or where Tim [Bergling], excels. He’s not afraid to commit to something, so that’s one of the joys of working with him. Writing music can be scary, and being brave is kind of the most important thing.

Also, working with Aloe Blacc was really great. We called him up and said, “Can you come over and sing and write the lyrics? We want to finish this tonight!” He got into his car and drove right over and wrote the song in a matter of hours. I think about that a lot. A lot of people would just be like, “Aw, I’m too busy. I can’t do it right now,” whatever. If he had said no, then that song might never have happened that way. I think we’re all grateful for that.

When the song made its live debut, people were —

Confused?

Because of this idea of bringing two extremes together, as Nile Rodgershas said. Did that ever seem — not strange… I don’t like the word “strange.”

No, but it was a risk. I don’t think there was any question that it was a risk. The thing is, that performance at Ultra was something that we planned very specifically. Tim came up to me and said, “Is there any way we can do this?” I said, “Of course we can do it. I think we should do it.”

He was like, “Everybody’s doing the same thing. I want to show everybody what my musical ideas are for this album [True, out now], what I’m envisioning and what I want to share with people.” We had a conversation where I said to him, “There are gonna be repercussions for this. People are gonna think it sucks. People aren’t gonna be accepting of it, because it’s so different from what they’re looking for from you specifically.” I tried to mentally prepare him for it, but I don’t think he was all the way prepared for it. But he was right. He was ultimately, totally right.

He was standing behind his vision, and for the first few days people were really confused over his decision to bring out a live band. But his peers really stuck up for him, and the tide turned kind of quickly. Actually, a week later I went to his house. We were back in L.A. after going out for a bit, and we both grabbed each other and were like, “It worked!” Some people were saying that he had committed career suicide, all this crazy stuff. What can you do? You can play the same stuff that everyone uses every time, but there’s just nothing exciting about that. There’s nothing exciting about a perfect performance. People would rather see something unique and different. I’m just glad that Tim had the confidence to be brave and stuck up for his vision, and I’m glad I was able to help him do it.

http://www.mtvhive.com/2013/10/24/incubus-guitarist-mike-einziger-m...

I can't believe Mike just has tracks of him & Chad Hugo's stuff lying around...what I would kill to hear!!

I know!!! He needs to share! Sharing is caring :D

Brandon Boyd chats about #SoTheEcho in this month's BL!SSS Magazine

PAGE 46 http://blisssmag.com/nov13.html

***Click on the picture here, then when a new window opens, click again to read the article!

Hans Zimmer Adds Johnny Marr, Dave Stewart and Incubus’ Mike Einziger to 'Spider-Man' Team

By Phil Gallo, Los Angeles | October 31, 2013 2:48 PM EDT

Hans Zimmer has again partnered with guitarists Johnny Marr, Dave Stewart and Incubus’ Michael Einziger to score “The Amazing Spider-Man 2.” Pharrell Williams will also work on the score of the Sony Pictures film that will be released May 2.

Zimmer, who spoke at the Billboard and Hollywood Reporter Film and TV Music Conference this week, said musicians have been calling him to be a part of the project due to their love of the character.

“That was the thing that united all of us -- the great love for Spider-Man,” Zimmer said in a statement. “With all of these hugely talented people wanting to join us, it was (director) Marc (Webb) who said, ‘Why not start a band?’ Marc and I have had a great start jamming with everybody, and we still have a few surprises up our sleeve.”

Webb is directing from a screen story and screenplay by Alex Kurtzman, Roberto Orci and Jeff Pinkner.

Zimmer previously collaborated with Williams on “Despicable Me” and on the music for this year’s Academy Awards ceremony.  Marr played on Zimmer’s score for “Inception,” Einziger on “The Lone Ranger” and Stewart on “Madagascar 3.”

http://www.billboard.com/biz/articles/news/5777977/hans-zimmer-adds...

Marc Webb, Hans Zimmer Form Supergroup for 'Amazing Spider-Man 2'

Pharrell Williams, Johnny Marr, Michael Einziger and Dave Stewart are in the band that will create the music for Sony's sequel.

Spider-Man is getting a supergroup.

Sony announced Thursday that director Marc Webb and composer Hans Zimmer have formed a supergroup that includes Pharrell Williams, Johnny Marr, Michael Einziger and Dave Stewartto create the music for The Amazing Spider-Man 2.

The film, which will be directed by Webb and sees the return ofAndrew Garfield and Emma Stone, is set for release in the U.S. on May 2. AlexKurtzman, Roberto Orciand Jeff Pinkner wrote the script, and Avi Arad and MattTolmach are producing.

"Marc and I were talking about Spider-Man, and as the word got out, so many of our friends and musicians started calling us up, wanting to be a part of it, because they love Spider-Man," said Zimmer in a statement. "With all of these hugely talented people wanting to join us, it was Marc who said, 'Why not start a band?' Marc and I have had a great start jamming with everybody, and we still have a few surprises up our sleeve."

Zimmer has worked with all the members of his supergroup on other projects. He collaborated with Williams on the hit animated film Despicable Me, as Williams produced four original solo songs and several other character-sung pieces. They also collaborated on the music for the 84th annual Academy Awards. Marr played on Zimmer's score forInception; Einziger played on his score for The Lone Ranger, and Stewart played with Zimmer on the score for Madagascar 3.

Along with a robust mainstream music career, Williams, a three-time Grammy winner, also composed songs and the score for Despicable Me 2.

Marr rose to fame as co-songwriter and founder member of The Smiths. He recently released a solo album, The Messenger.

Einziger is the founder/guitarist/songwriter for the band Incubus. He also scored the JoshDuhamel film Scenic Route.

Stewart's music career spans three decades and more than 100 million album sales, including his collaboration with Annie Lennox in the pop-rock duo Eurythmics. He's also a prolific producer and co-writer, having worked with BonoBryan Ferry, Gwen Stefani, Tom Petty, Stevie Nicks and Katy Perry.

http://www.hollywoodreporter.com/heat-vision/marc-webb-hans-zimmer-...

Mike and Johnny Marr, epic! 

So exciting! Composer Mikey ♥

Radio Feedback: Incubus Pauses Putt-Putt for ‘Pardon Me’ Premiere

Welcome to Radio Feedback, Radio.com’s weekly feature where we ask artists to wax nostalgic on the first time they heard themselves on the radio.

When Michael Einziger isn’t writing or performing with his bandIncubus, the multi-instrumentalist is busy smashing down the walls between genres. Einziger has recently enjoyed watching “Wake Me Up,” his EDM collaboration with Avicii, top international charts.

While catching up about “Wake Me Up,” Einziger shared withRadio.com the first time he heard Incubus on the radio. Turns out there were some awkward moments as a result on being the guy coming through the speakers.

“The very first time that we ever heard our song be announced and played on the radio from start to finish as a premiere, with any sort of weight behind it, all of us were playing putt-putt golf at this little s***ty golf course in the San Fernando Valley,” Einziger recalled.

“We got a phone call like five minutes ahead of time saying, ‘Your song is going to be played onKROQ (a Radio.comstation).’ It was [2000's] ‘Pardon Me,’ on a major radio station! So we all ran back to the parking lot and got in the car, turned it up, cranked it and they were like, ‘Yeah, this is a local band called Incubus blah blah blah…’”

On a few occasions, however, radio play presented a sometimes awkward situation for Einziger, particularly during his time at Harvard. Einziger went Ivy League from 2008 to 2010, and still has two more years of studies ahead.

“The science center at Harvard is one of the main places where people study and eat,” he explained. “I would go sit there and do my work and I would get food and Incubus songs would come on the radio all the time. They’d be playing music in the cafeteria area. I’d hear at least one Incubus song every day, and I’d be surrounded by people walking around me totally unaware that it was me or that I’d written a song. But every once in a while I would make eye contact with somebody and they’d look at me, listen, then look back at me. They’d be like, ‘Oh, that’s funny.’ I had some really interesting and sometimes really awkward experiences.”

Despite the occasional awkward experience, hearing his music on the radio is still very humbling to Einziger, even after more than a decade.

“I’m still amazed that we’ve been able to write music that people actually listen to. I’ll take it.”

http://news.radio.com/2013/11/04/radio-feedback-incubus-pardon-me-m...

Sons Of The Sea – 10.30.13

Interviewed by: Jonathan Bautts (11/07/13)

In the following phone interview Brandon Boyd discusses his new musical project Sons of the Sea, what it’s like working with Brendan O’Brien, curating his stream of consciousness writing style, and the past of Incubus.

The sound and style of the record isn’t typical for what Brendan O’Brien is known for, which are these big rock records, and a little different than what Incubus has done. When you were first discussing this project, how did you decide what direction you wanted to take it in?

When we were first talking about writing songs together, there was really no creative direction other than, “Hey man, do you have some free time?” “Yeah, I do. How about you?” “I do as a matter of fact. Want to try and write some songs together?” “Sure, let’s do that.” That’s what it sounded like, that was our creative direction. I basically sent Brendan all these lyric and melodic ideas that I had, and we just kind of started going. After doing that for a little bit and recording a couple songs, he started sending me raw musical ideas that I started writing lyrics to.

Brendan’s produced all your stuff since A Crow Left of Murder. What was it like working with him as a collaborator and band member this time rather than just as a producer?

It wasn’t terribly dissimilar being in the studio with him, for the most part. I think that the biggest difference was there was no band present. This entire record happened between Brendan and I. We were the band, at least up until the eleventh hour. We had the whole record done and everything. We had actually started to mix songs, and then we brought in Josh Freese very late in the game to play on one or two tracks to see how they would sound. They ended up sounding really, really great, so we asked him to play on the rest of the record.

He definitely had his producer hat on, but I had never had the opportunity to work with him as a musician, so it was pretty great, to tell you the truth. He’s a wild guitar player, and bass player, and keyboard player. It felt limitless. It felt like there was no real restrictions or constrictions in the process of collaborating. If I had some crazy melodic idea or effect idea, we could translate it so beautifully and purposely with Brendan. It was a lot of fun.

This is the second non-Incubus record that you’ve done, with The Wild Trapeze being the first one. What did you learn from doing that one that you applied here?

With The Wild Trapeze and Incubus, that was sort of the first extended break we had taken. That flow of music and lyrics and imagery, and all these things that occupy my heart and my mind throughout most days, that didn’t really stop because we decided to take a break as a band. At first, I was cataloguing ideas and demoing them. Then I get almost like an anxious feeling if it don’t keep that house clean and flesh out the ideas fully.

So I started to imagine doing a solo record but have other musicians play on it, and really just start to expand and spread my wings a little bit. It ended up turning into The Wild Trapeze, I’m talking about. It ended up turning into me playing everything short of a couple bits here and there that Dave Fridmann, who produced that record, played on. There were certain musical parts beyond my skill level, and he picked up the slack there. He’s a much better musician than I am.

I think one of the things it taught me was that I have a lot of sound and things floating around in my spirit. When I give them voice freely, when I don’t try and put any weights or bounds on them, sometimes that comes out in an Incubus record and sometimes it comes out on a solo record where I’m an acoustic musician, who’s kind of a crappy musician, but you can hear the songs through the crappy musicianship.

With this, with the Sons of the Sea thing, Incubus decided to take another break. These songs kept coming through and I got to work with an amazing producer, who also happens to be an amazing musician. It felt like a really fortuitous project, and the timing was really great.

As Incubus you’ve never done a ton of covers, the only one that really sticks out in my mind is the Prince one, “Let’s Go Crazy,” and yet you chose to end this record with a Leonard Cohen cover. What about that song made you want to cover it?

Mostly I love that song. It has an effortlessly beautiful lyric to it. I think that’s one of the things I gravitate towards the most with the artists I stick with, so to speak. I definitely look for musicianship, and I look for creativity and cleverness in execution and all these things, but when someone becomes a masterful lyricist and is able to tell a story effortlessly, and beautifully and sincerely, I’m hooked.

Leonard Cohen is a perfect example of that. He’s definitely more of a lyricist than he is a singer or a musician, but the lyrics are so beautiful and so strong it carries the whole boat along with it. Honestly, I’ve always wanted to cover one, and I hadn’t for any number of reasons. I was musing about the idea and Brendan just happened to be really into it, so it happened [laughs]. That’s kind of how it goes.

Talking about lyrics, I’ve always been fascinated with your lyrics and writing process, which I understand is more spur of the moment and not premeditated that much. Can you talk about how that functions?

Yeah, it’s one of those things where I know talented lyricists who have an idea about a song they want to write. They’re like, “I want to write a song about breaking up, or I want to write a song about going on a road trip.” That’s a ridiculous example, I don’t know, but they can do it and they can do it successfully. I’ve never been able to do that. I’ve tried and it ends up being just shitty [laughs]. It ends up being like these shells of a song. To me, what happens when I try that is it lacks the sincerity. I really feel like people can pick up on that and they can see through that, so I applaud people who know how to do that well.

I’m basically more like a full-contact sport. I won’t write for a period of time, and then things just start to flood out. It’s a little bit more of, I guess you would call that a stream of consciousness style of writing. That’s the way I’ve always drawn as well, drawn pictures and painted pictures. If that “feeling,” quote-unquote, isn’t present, than I just don’t draw or I don’t write, and then when that feeling is there, it’s so overwhelming that I can’t not do that. I have to do that. That’s sort of what my process looks like at one stage.

At another stage, I think I definitely become a lot more of a curator or a scientist about it. I’ll take these jumbled ideas that are drifting around in multiple journals and notebooks, and then I’ll piece them together like a piece of a puzzle. It ends up being this kind of mind tickling, problem solving situation where I have a bunch of disparate ideas that I pull together and turn into a legible lyric of sorts. Sometimes they come flooding out all in one go and the song is done in an hour, and then sometimes it takes me a couple of weeks to string something together out of many, many different ideas. I don’t really like to put too many constraints on that process. I want the end result to be integrity and have a sincerity that people can pick up on.

Can you remember what song has taken you the longest to get through that process and to complete?

There have been a handful of Incubus songs that have gone that way, one of which is a song called “Dig” from our record Light Grenades. “Dig” ended up being a single at one point. I think it’s a beautiful song. It says many things, and a lot of things it does I wasn’t even really aware of after the song was even finished. It kind of came to the fore after the song was released and I heard it on the radio one time. I was like, “Oh, that’s what that song is about.”

I remember laboring over the lyrics quite a bit, and I remember as a band we were laboring over the arrangements. Then playing it live was difficult, and we tried to make a music video for the song and it was an incredibly laborious process. They were trying to have it be a fan-made video. All these submissions came in, and there was this kerfuffle where the winner had to be from the United States per our record label’s instruction, which we didn’t know about. All this crap, and the whole thing was almost like this burden, but then the end result is it’s a beautiful song. It’s a song with integrity and with sincerity, so it doesn’t really matter how long or how much work it took to get there.

There’s a track on The Wild Trapeze that had a lyric I labored over as well. It’s called “A Night Without Cars.” I really liked the way it turned out, and I forget how hard it was to write. There’s a track on this Sons of the Sea record called “Great Escape,” which I remember the initial idea came really quickly. Then in that curating, scientific part, I just picked it to death [laughs], and then it became a difficult lyric to write. Anyway, I’m actually really down for the challenge. It’s probably one of the reasons I still do it and still love to do it, is that I actually like the challenge of writing lyrics.

You mentioned stream of consciousness. Do you find that the stuff you write about is fairly autobiographical or is it so fractured it becomes hard to pinpoint?

You know, it’s a little bit of both, to tell you the truth. There’s definitely some intentionally autobiographical material in almost everything I’ve ever written. I guess you could say my life or my experience thus far is the most cooperative muse. I make very consistent mistakes in my life. I learn hard lessons, and I learn about those things through an abstractive externalization of them. I think that’s what a lot of artists do. You’ll draw out the things you’re feeling when you’re writing them down and form them into clever little sentences, and somehow it makes more sense to you. It’s a quasi-cathartic process.

Then there’s stuff that’s just sort of absurd, which I think is just as essential. Stuff spews out and it doesn’t make any sense at all, at least in the short term. Then like I said before, a year later you’ll hear that track in a store somewhere, or if you’re really lucky you’ll hear it on the radio, and a completely different perspective or context emerges. You’re like, “Oh, that’s what that song is about. Oh, wow, I thought I was just writing nonsense. I was into something right there I wasn’t even aware of [laughs].” It’s definitely a rewarding process.

I wanted to briefly mention the last Incubus record, If Not Now, When? That was definitely the mellowest record you’ve done, and it seemed to be a bit more under the radar than your big rock stuff has been. Looking back on that record now, what do you think about it?

Each of them are different experiences making records, especially the longer we’re a band each experience becomes less and less alike than the one that precedes it. That record was probably one of the more unique experiences in that we were dealing with any number of extenuating circumstances that lead to the end result. For the most part, it was pretty rewarding to do them, and I think there’s some lovely moments on the album, but it wasn’t without its challenges, that’s for sure.

We were at the end of our record contract with the record label we’ve been with for 17 years. We started to feel the, I guess you could say the contractual obligation they felt towards us. It started to wither away. We felt it even leading up to the release when the album actually got leaked off of a Sony server, which was kind of devastating to us and to the first couple weeks of release. It had barely been done being mixed and it just kind of leaked out, so it was like, “Well, OK, I guess it’s finished.” It was the only one of ours that had ever leaked, and there were a lot of things around that process that felt a little bit off, but you live and you learn.

Like I said, there are some lovely moments on the record, things that I think are classic Incubus moments, and then there are chances that we took that didn’t pan out as well as we would have hoped. That’s all part of the process. We can’t do it the same way twice. We can’t find a formula and continue to hack away at it, because once again that would be operating without integrity, and I think people would see through that.

So the 12th anniversary of Morning View was a week ago. That record is I believe your most successful to date, and I know is a lot of people’s favorite of yours. Reflecting back on that record and time period, what sticks out about that one to you?

It honestly feels like another lifetime ago in certain ways, and then in other ways it feels like it was just yesterday. I know that’s sort of the cliché answer. That was a moment where we just hit a stride. Any band is lucky to have a moment in their career where they hit a stride and things just start to flow. It’s the thing that any musician or artist of any kind is hoping they’ll tap into once or twice, or if they’re lucky more than that.

I think we had gotten to that point where we had been a band exactly about 10 years when we did Morning View. We started the band in 1991 and we started to record Morning View at the end of 2000, so we had been a band for about nine years. If we’re looking at it from the Malcolm Gladwell point of view, we were almost at that expert level. We had that 10,000 hours under our belt, maybe more because of all the shows we had played [laughs].

Also we were at a moment in our lives in our 20s where we didn’t have any responsibilities still. We had barely gotten our own apartments and shit like that, so we moved into this big, beautiful house, and our only goal in life was to make a great record. None of us had a mortgage yet or any real responsibilities to speak of.

It’s one of those things where it was just a moment in time. It was a lot of fun too, honestly, part of it because there was so little responsibility [laughs], but partly because we were in this moment where we were living in a dream scenario. It was our job to write good music and live in this house for five months in Malibu. It seems almost comically surreal now. I look back very on it fondly, and I’m so glad people enjoy that record still.

http://absolutepunk.net/showthread.php?t=3523341

"To get out of my own way." I know that feeling! Obrigada Viv! ♥

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