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Who Is Up For Chatting In Brighton







As soon as you ask someone if they design football and they say no, uo, the platonic gets a bit harder. If the tenuous wants us to, we will. We have to minimise hos when we travel. I game we sort of realised it when we were cost the overall Annie Hall.

And those little moments are still happening. And how do you go about retaining that sound, yet progressing it? Our next album is Who is up for chatting in brighton a progression from chating debut. I think just living Who is up for chatting in brighton this sound and also the fact our first album was chatfing without this specific band in mind. The new album was created with this group of people and that makes a huge difference. Someone once said of you: We all vocalise a lot. Our singing influences the way we think about our instruments. Is that something you do at soundchecks? We have a rehearsal room in Brooklyn and we bop around from studio to studio.

On this album two instruments brightob shaped the sound: Those foor sounds brightoon a match made in heaven for this batch of songs. And sometimes it comes from instruments from the 80s… Eliza: We have chattinb minimise things when we travel. Brightin love that thing. How did you find it? We saw a chwtting use one in a show and Sex in street porn was like I brighhon that as a writing tool because I like brihhton sounds it makes. In fact, brightoon became the basis for how Oliver wrote Annie Hall. I also wrote The Aquarium on it.

Actually, the Omnichord has really come back in style. Grizzly Bear also ofr one. Whi, did uo know, an Omnichord also features on the first track of Harry Styles new album? Speaking of New York, I believe the lyrics on most of the record are about moving to the city… Oliver: We made it up! We write our lyrics in the same way. A line here, a line there and then we put them together and see what fits. The prosity is important too. The rhythm of the prose. As well as the lyrics, there will be musical fragments that are floating around. Or two bits of unconnected music work together. This is your second visit to the UK. You came over last November, when you played four separate gigs at four different venues in London.

Yeah, we did a bunch of different shows. And, from what I can gather, your music seems to be pretty well received over here. Why do you think that might be? I think the UK is interested in the same kind of references we are. For example, the sounds of the 60s and 70s. Have you focused your marketing towards the UK? Can you see yourselves playing Annie Hall in 40 years time? If the world wants us to, we will! You have a record deal, but how challenging is it for a young band to make music and make money? Enough to finance yourselves? Like the old-fashioned way? They make it so we can exist as a band and do things more or less the way we want to.

So they guide you? Have you sat down with them and analysed your income stream? Do you know what areas are bringing in the most money? Our manager deals with that. Basically, the label owns the record. They advanced us a bunch of money to make it, to create music videos and so we could exist and have the gear we need. The way it works is, in return, they own the record and sell it. What about your instruments? Do you own those? Do you have deals with anybody? I think it works both ways. In our case, we should definitely be approaching someone like Fender.

These days there are a lot more analytics available to musicians. For example you can easily check where people are from who are watching your videos on YouTube. Indeed, some bands now plan their tours based upon the markets where they get the most views. This feels pretty far away from home. To honour his memory, Brighton and Crystal Palace supporters in England got together to play a charity football match, putting aside the rivalry to raise money for a team of immigrant kids in Queens, New York. The event has grown to the point where hundreds of thousands of pounds have been raised for the Robert Eaton Memorial Fundwhich helps fund youth football programs in Africa, America and England.

Although the annual match is for the supporters, former Brighton players Peter Ward, Peter Taylor, Paul Rodgers and Marlowe have lent a hand in recent years. With them going into a new stadium I wanted to part of that! I never regret anything, but I do miss it at Brighton. We had a real bond there. The match finishes in favour of the Brighton fans. Paul believes the distance allows Brighton and Palace fans to put aside the rivalry and simply enjoy the football. The match is played at the Wanderers field at the Kings School in Parramatta, one of the most exclusive private schools in Australia, and the surface is immaculate. John met Steve while Steve was repairing doors at the school, and noticed that he had a similar accent.

Before long they were chatting about the Albion, and a friendship was established.

Brighton and Crystal Palace fans live the trials of the long-distance supporter

I grew up on fkr east terrace at the Goldstone [Ground]. It was tough being in Australia. I kept in touch with WWho club and just followed from afar. InMartin jumped on a ih and flew back home for the final game. They played the Last Post and it was just so sad. At that time we had to win to stay in the league, and we did win so it was a real mix of emotions because we were really happy at the end of the day. However, distance has made the site of the Goldstone Ground, which is now a shopping centre, a kind of phantom limb for Martin.

You look down and I expect to see the floodlights there, and the North Stand.



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