Отправлено: 03.12.07 21:09. Заголовок: Мyspace Даррена (дубль 3)... (продолжение)

Предыдущая темка исчерпала лимит... начинаем новую...

 Отправлено: 23.09.09 10:44. Заголовок: http://img17.imagesh..

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 Отправлено: 30.09.09 22:50. Заголовок: Wednesday, Septembe..

Wednesday, September 30, 2009

MAKING THE ALBUM VOL 4.
Category: Music
Originally written on 18 July 2009 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.com

So much has happened since the last time I blogged I don’t quite know what to fill you in on. You see I try to be more cryptic with twitter and myspace. So although I’ve been filling you in on tid bits I haven’t really being entirely honest. Hehe. Where do I start? Well, once again, this album is being recorded in a very different manner in which my last one was. I’d say it’s more like ‘The Tension and The Spark’ in it’s execution in that there really aren’t demos as such as rough versions that continue to be worked on.

Last album, I really wasn’t sure of the sound until I’d written ‘How To Build A Time Machine’ and then I went back on the many songs I had written as demos and transformed them in the studio mostly with Shave.

This time, I’ve been sure of the direction from the start – and have been delegating my time in the studio to either ‘my’ album or ‘others’. Occasionally a song I have written for someone else ends up becoming ‘mine’ (mwhahahah) probably by a case of self sabotage more than anything else. I write a song at the request of a label or for the intention of submitting it to an artist but fall in love with it in the process and then cross my fingers hoping it won’t get selected. A few times that has happened I can look back and see ‘wow – I was really writing that for me!’.

Specifically one of my favorite songs so far in the pile for consideration for my record is one written with the Swedish songwriter. The minute we wrote it I felt a bit of sadness because I felt I’d stumbled upon the sound of my new direction and yet we had agreed to give it away. The short story is that it was eventually not chosen to be recorded by the BIG RECORD COMPANY ARTIST and I got my greedy hands back on it. But either way, that song inspired the sound that would continue on many more songs I’ve ear marked as possibilities for my record.

How am I choosing? Simply based on the theme and visual landscape I’ve had in my head all along. I’ve mentioned before I’ve had a working title and a ton of images and writing on my laptop for a year now. So that helps me zero in on the character of the songs. Occasionally my two worlds collide but in general I’m able to tell immediately if a song is more ‘me’ than someone else and I work accordingly.

So there’s been more writing with the Swedes. Nothing I’d put on my record yet. But I worked with Brian West of Track and Field fame (google it) and wrote a song I’ll code name ‘E’ which was instantly a keeper for me. We worked in the Sony ATV building in the West End for a few days and it was so fun to pop out into Golden Square and grab a coffee and walk about soaking in the energy of London and then zip back upstairs to a private studio and create some magic.

More recently Robert Conley came back to London for the second trip to my studio to work on songs for the album.
We had a brilliant strike rate this trip. We wrote a song I’ll code name ‘W’ and it’s a killer. Big drums and frenetic sound. Lots of energy and exactly what I think has been missing from the songs. Then we wrote a heartbreaker if I say so myself. I’ll code name it ‘L’. I think it’s ‘that’ song on the record that many people can relate to. It’s quite sad but universally so and came from a very raw place. I said to Richard tonight that I was glad I had a home for such emotions because they are heavy to hold on to without support. Fingers crossed it makes it on the album.

Next week Justin Shave arrives to do 2 weeks here – really just polishing up and transforming some songs I’ve ear marked and hopefully writing some more.

In the mean time, here’s some outside of the studio ramblings. I’ve been cooking so much this year. Richard has been quite busy with music videos. He just did a new one for a little indie band and it was 3 weeks of post. So I was cooking virtually every night and loving it. For those who don’t believe I can make my way around a BBQ I took a pic of my skills at a party recently. Also there’s a shot of my mic stand and vocal set up in the attic studio. What else is there? Oh a pic of me staring at the camera in the Sony ATV studio kitchen when I was working with Brian West. And finally a picture of my biggest fan who was giving me love eyes from the couch hoping I’d take him for a walk.

I’ll write a new blog when Justin is here. In the meantime join up to U Stream. I’m thinking of posting some vids of my time with Justin if I can get my shiz together in time. I just registered an account and it’s http://www.ustream.tv/DarrenHayes
I’ll give plenty of notice when I’m going to jump on.. but thought you should know soon!

Big love
D

 Отправлено: 30.10.09 07:05. Заголовок: Friday, October 30, ..

Friday, October 30, 2009

This Is It..

In 1987 a 15 year old version of myself screamed his lungs as Michael Jackson sizzled and popped his way, seemingly on thin air, accross the floor of the Brisbane Entertainment Centre. He wore a shiny silver stage costume with black buckles on the shoulder and I swear I was so close I can still remember his perfume.



It's 22 years later and today I woke up and dubbed it 'Michael Jackson Day'. I'd booked tickets to go see his 'This Is It' movie and visit the exhibition of his costumes and memorabilia at the 02 Arena in London.

I had mixed feelings about the film prior to going in. I'd heard all the hype from the advertising machine and I'd heard the conspiracy theories from those who felt the film was cashing in. But somewhere in the middle I guess the chance to see my childhood hero on the big screen and on the precipice of a triumphant return was the feeling that trumped them all. Truth be told, even when tickets went on sale for the original concert that never was to be, I was skeptical. I'd seen M.J live many times, but the last time was in NYC in 2001 and he was clearly struggling.

I didn't blame him - what was left after the trials and tribulations of the child abuse accusations was a frail man, unsure of himself and gun shy in a spot light of humiliation and degradation. He seemed as though his spirit had been broken, that he'd become overwhelmed by the vultures and the fame monster.

That was a few days before September 11 2001.
I remember the show so clearly, not only because of its proximity to such a tragic date in history - but because I had seen my hero fall to the ground. After the concert
I had the overwhelming feeling that something was wrong, and I changed my plans dramatically to leave NYC earlier than planned. I was supposed to come home on September 11 (on a flight that would eventually, sadly, perish) and instead I chose to come home a few days earlier.

When I woke up on September 11 the world would never be the same.
For Michael Jackson, I guess this was true in a way none of us could have imagined back then.

Fast forward to recent times, and Michael had survived round 2 of scandal and accusation.
Only this time, perhaps only barely. We all know the story so I don't have to repeat it here. But the memory is one of a man on the run. From us. From Them. From himself. Less than half the man he used to be, seemingly stripped of his accolades and certainly his dignity.

Let me back it up by saying, M.J is and was my hero growing up. I didn't have a positive male role model in my life - and when I was teased at school for being a 'faggot' or 'queer' I looked up to this man who seemed to be both male and female to me. Strength and sensitivity. Subtlety and electric shock force in one. And when the world called him strange, I just saw myself reflected back. I saw a spirit that could not be broken. When I first saw him in concert, I think I've mentioned before, I suddenly knew what I wanted to do for the rest of my life. This feeling was the polar opposite of how I'd felt in New York in 2001.

So the idea of seeing M.J on stage again in 2009 - in a show that many suggested was a 'have to' instead of a 'want to' situation - I wasn't eager to bear witness.
Not because I didn't love Michael or appreciate his talent. I think it's because (and I'm ashamed to admit) I didn't really really think he could pull it off. And I wanted to remember Michael as the hero who inspired me. And not as the man the world turned him in to.

2 months before the 'This Is It' tour was due to open I got into a major Michael phase. I was ravenous about the 'Bad' tour (the first one I ever saw) and his costumes back then. Especially that silver shirt. I began frantically seraching for rare concert footage and listening to his albums daily. So much so that my other half thought I was losing it.

At the last minute, like most people, I bought a golden ticket to his show.

And a few weeks later, Michael had died.

Tonight, I've seen the film which is essentially a document of the rehearsal and almost dress rehearsal of what Michael's farewell performances were going to be. And I was filled with awe and sadness.

Awe in the scale, scope and ambition of the stage show.
Awe of Michael's spirit and talent - still present even in rehearsal mode.
But incredibly sad that he was robbed the opportunity to do these shows that would have reclaimed his dignity once and for all.

Like most people, I guess I had underestimated him.
If you believe the hype, he was barely present at rehearsals. He was ill (he did seem dramatically under weight) and 'out of it'. But what I saw, was a 50 year old man remembering his magic. I saw glimpses of brilliance and the possibility of a reclamation of respect from his peers and critics alike.

Walking through the halls of memorabilia afterwards, I found myself again filled with sadness and gratitude. So glad that the positive things about him seem to be the ones that linger. So sad that the silver shirt that I had reached out for in hysteria, separated by a crash barrier and layers of security, lasers and fog - was now inches from my hands. Not even behind glass. There. Touchable. Real.

I don't know what the lesson in any of this is.
I know the shock for me was seeing something so untouchable, so superhuman, appear to tangiable and, dare I say it, mortal.
But perhaps the biggest thought I'm left with is the need to appreciate things in the moment - and celebrate the blessings we're given when we have them.
Becuase as I watched the film the thought that kept playing over in my head was 'if only we had him for a little while longer. If only more people could have seen this'.

But that's the thing with 'if only'....

 Отправлено: 11.11.09 16:23. Заголовок: Monday, November 09,..

Monday, November 09, 2009

MAKING THE ALBUM VOLUME 5.
Category: Music

Originally written on 28 July 2009 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.com

I’m sitting in my studio (I don’t know what to call it – probably just my home studio!) listening as Justin is working on the track ‘N’ – the co write with Robert Conley. It’s fascinating to see the sounds and the track take a gigantic leap to another dimension that I hadn’t anticipated. Not a huge leap I guess to the casual observer but for me it’s like the difference between a demo and a record.

We are making a record.

And that’s a profound feeling.

The first song Justin and I worked on during his trip is a song called ‘H’ which I wrote during the lead up to ‘Delicate..’ I knew immediately that it was a special song but it didn’t fit the album. It was very first person and upfront – a very ‘down on yourself’ sentiment I guess and not at all what I would eventually go on to say on the album that would come. But I held it close to my chest, knowing it was a special sentiment and one that would fit on my next record. (Yes, I knew even back then).
The original demo is almost country. And the finished version – well let’s just say it’s not country! Some of you may remember my ponderings over what to do with it direction wise on the forums. I was debating whether or not I should completely deconstruct it – but we didn’t and I’m so glad. It’s still in keeping with what the original vibe was, only so much more the sound of this album.

The second song we worked on was the Robert Conley co write ‘S’ (not to be confused with the Swedish co write ‘S’ ;) )
It was close to being right – but needed spices and some hidden flavors. Shave really hit it out of the ball park on this one and though it was excruciating listening to him hold my vocal up to intense scrutiny it was worth it. It features some pretty cool drums, some of which I did (I played some Bodhran using my hands like a bongo, not using the sticks) and it sounds ace.

Which leads me back to where I began this blog to the song we’re doing now – ‘N’.
It’s a big epic majestic song – full of great expanses and rising choruses. Feels important. It already sounded great when Robert left – and with Shave’s production it’s taken on a new panoramic view.

The plan for the rest of this week is to get through another 3 songs before Shave leaves for Australia. I’m then off to Sweden for a bit to work with the Swede and then L.A to re unite with an old friend and do more work with Mr Brian West (Track and Field) before heading down to Australia to re unite with Shave and Robert.

All in all – it’s full steam ahead and sounding huuuuge!

Here’s a pic of me that Shave took of me in one of 3 identical shirts I constantly parade around in on the interwebs.

Love you

X

 Отправлено: 13.12.09 10:54. Заголовок: Sunday, December 13,..

Sunday, December 13, 2009

Darren Hayes' list of amazing moments in Music in 2009
Current mood:reflective

I usually post some kind of end of year list of music, films, people, things that I’ve loved. This year, there were so many great moments in music I thought I’d just focus on them and write a few words about five key albums that blew me away. See if you agree, disagree or if you haven’t had a chance to check them out hopefully fall in love with them the way I did.

MIIKE SNOW – MIIKE SNOW



Just the most refreshingly unique take on pop music to happen since, well Mylo in my opinion. Absolutely love lead singer Andrew Wyatt’s voice and have been a fan of Bloodshy and Avant (Christian Karlsson and Pontus Winnberg) since back in the day.

Considering their pop pedigree it’s so subversive that they’re responsible for such a cool record that the critics are lapping up. It’s a deep, lush, emotional and dark journey of an album and I can’t recommend it highly enough.

http://www.myspace.com/miikesnow

LADY GA GA – THE FAME MONSTER



More than a few bonus tracks added on to her hugely successful ‘The Fame’ album – this E.P of 8 songs is actually better than the album it accompanies. It’s like a darker more adrenaline charged version of ‘The Fame’ and has not left my iPod playlist since it came out. In particular ‘Monster’ thrills me and ‘Speechless’ kills me.

Her entire career spans these two songs. Brilliant.

http://www.myspace.com/ladygaga

BIFFY CLYRO – ONLY REVOLUTIONS



Bands reach this moment where the loyal fan base and the mainstream collide. U2 did it with The Joshua Tree and recently Kings of Leon had their moment with ‘Only by the Night’. Biffy Clyro have been a left of the centre massive success to those in the know for a few albums but this one suddenly lurched into my view and has had me paying attention. Big melodies, simple words with big ideas and a big big voice.

Great sounding record from a fantastic band.

P.S I know the cover I’ve posted is for the single, ‘The Captain’ and not the album cover.. but I love it!

http://www.myspace.com/biffyclyro

FLORENCE + THE MACHINE – LUNGS



The closest we’ve come to a Kate Bush since Kate. And not simply because she wears floaty clothes and is ‘quirky’. She’s a genuine artist with a unique vocal identity that is uncompromised. In that love or hate way. I adore the producer Paul Epsworth and their work together on this record is up there with some of my favorite productions in the last 20 years. Evokes the mood of Kate Bush’s ‘The Red Shoes’ or dare I say it Peter Gabriel’s ‘Us’. Atmospheric, magic and ethereal but with teeth.

http://www.myspace.com/florenceandthemachine

LILY ALLEN – IT’S NOT ME, IT’S YOU



I love it when I underestimate an artist and they stick the middle finger up to my perception of them by going away and coming back with something so far ahead of where they left off you have no choice but to bow down and say ‘wow’.

Lyrically and stylistically light years ahead of her contemporaries. The concepts of love and disillusionment would be heavy duty for someone twice her age. There’s the sonic soundscape which is, again, in a world of its own thanks to Greg Kurstin. Nothing else sounded like this on the radio nor did it sound one bit like her last release. Could have been career suicide and yet it was career defining. Amazing.

http://www.myspace.com/lilymusic

Other notable moments in music were singles. I loved everything the Black Eyed Peas did – all of Fred Falke’s remixes and the Freemason’s remix of Whitney Houston’s ‘Million Dollar Bill’. The song that I became obsessed with in the last few weeks is Alica Keys ‘Try Sleeping with a Broken Heart’. I hope it becomes a massive smash hit in 2010.

Moments in film for me included ‘Let the Right One In’ and ‘Where the Wild Things Are’. Both for similar reasons.

I have loved 2009. It’s been a year of complete reinvention for me and I can’t wait for 2010 to begin the big reveal.

In the meantime, I hope you have a wonderful holiday period and ace New Year.

See you soon!

xD

 Отправлено: 04.02.10 07:20. Заголовок: Wednesday, February..

Wednesday, February 03, 2010

MAKING THE ALBUM VOLUME 6.
Category: Music
Originally written on Monday, 17 August 2009 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.com

Well I noticed in my last update I said Justin and I would get through another 3 songs before he left. We got through one. I'll called it 'W'. It was a huge song and took more effort than we anticipated. Mostly because we got stuck into recording percussion inspired very much by Michael Jackson's 'Off the Wall' album. I have always been fascinated with the sounds in the song 'Working Day and Night'. The original demo of the song had M.J and his siblings playing percussion by tapping on glass bottles. I think the album version obviously has a more polished version of the technique but it still sounds so raw and tribal. Incidentally Pharrell Williams used this vibe to the next level on his productions when he started playing paint cans on his records as drums. So what did I do? I enlisted the help of 1. The coke bottle 2. The breakfast bowl AND 3. The paint tins.
So it's one louder.

In a video blog coming up I'll post some video of my expert playing. I was using forks as drumsticks and I broke the breakfast bowl. I am not sure if magic is captured on film. But believe me the sound probably made the song sound at least .0001 percent better! This is the song that has a massive brass section on it as well. The plan is to record them in Australia when I head down under in September.

So Justin left, and we really only got through 4 songs in total but started the fifth 'T'. Then I literally went straight in to working with Brian West (of Track and Field) in a studio in London. He was over visiting from L.A and we spent two huge days together writing and recording a brand new songs called 'E' and it's freakin' amazing! But honestly, after working with Brian I had done 17 days straight recording and I was completely wrecked. I was desperate for some time off but we had some of Richard's family coming to stay with us so I didn't really have a chance to collapse for a few days. But I love them so much so it was hardly a chore.

As I type this I've just finished 'happy love day' which is a thing Rich and I do when we insist on time alone together. We went to London Bridge and walked around the half empty Borough Market area and along the Thames, across the Millennium Bridge and eventually to Covent Garden and to my favorite coffee house. It was so lush and lovely to be like a kid skipping school together. We had a lovely dinner and I fell asleep in the cab on the way home! Tomorrow I have a momentous appointment that I'm sure I'll fill you all in on after the fact. And then I must go to bed early as I have an extremely early flight to Sweden. Eeeek it's all happening!

x

 Отправлено: 21.02.10 08:00. Заголовок: Saturday, February 2..

Saturday, February 20, 2010

MAKING THE ALBUM VOLUME 7.

Category: Music

Originally written on Monday, 25 August 2009 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.com

I’m in Stockholm – and if you kept up with my twitter account you’ll know I arrived less than well rested!

I had just signed my new publishing deal the night before and because the president of the U.S company was in town we had a nice meal at Cecconi’s – my favorite restaurant in London. Sounds great, except I had a 7 am flight at Heathrow and had to be in a car at 5 am the next day.

I barely slept and arrived in Sweden feeling completely jet lagged!

The first week was writing two new songs for artists on Syco and Parliphone records. As with all these songs, when I say ‘for’ it is at the request of the label for consideration on the projects. But you never know if they’re going to like or use the song so it’s a bit of a leap of faith really. So anyway, did that the first week, had Saturday off and here I am on the following Tuesday on my second day of working on MY BLOODY ALBUM again which feels great.

And it also feels great to say I don’t think I’ll do any more writing for others until my album is finished now! So that’s a good feeling to know I can concentrate on my record. Truth is, I’ve been absolutely loving doing both. Nice juxtaposition. Some people have asked me how I differentiate between what is ‘for me’ and what is ‘for others’ and the truth is it’s plainly obvious.

I’ve got such a good grasp of what my album sounds like that I don’t even dip into that well of inspiration when I write for others. It’s like my special sound that I guard protectively.

What we’re doing this week is a bit laborious. We’re producing and polishing up earlier incarnations of the songs ‘T’ ‘TTT’ and ‘S’ (cryptic I know!). Which means lots of sitting around listening to what is on ‘tape’ and evaluating it, adding to it, taking things away. Basically permanently marking in ink the musical pictures that were previously drawn really well in pencil. You might have read in the article that the person I’m here with is Carl Falk www.myspace.com/carlfalkmusic – who is probably most famous for his work with Gavin De Graw, Delta Goodrem and recently worked with BackStreet Boys. He comes from a pretty amazing line of Swedish song royalty, having been signed to The Location – production and publishing house of Kristian Lundin www.locationsongs.com and really learning from the best of the best. He was first introduced to me as a possible collaborator for a song for Westlife. I at first didn’t know much about Karl and wasn’t that eager to make it happen. But I’m so glad I did because our connection was really strong. So strong in fact that I came away after having written a song called ‘B’ and said to my manager ‘I think I’ve found the sound of my new album’. And I did. It is fair to say that all of the sound palette sort of originated form the early songs he and I wrote for my album. I literally can’t say enough kind things about this talent because it is immense.

Carl went to school with and is good friends with the Swedish electronic artist Kleerup (Robyn’s ‘With Every Heartbeat’) . I have always wanted to collaborate with Kleerup and when I told Carl he told me of their connection and we’re making it happen. Kleerup is doing some production work on the song ‘TTT’. I spoke to him on the phone yesterday and it’s going to have to be a bit long distance as he’s working on a movie at the moment and I leave the country on Friday. But thank god for yousendit and wi fi. He’ll be able to send files back and forth. I’m quite excited if it does indeed work out as I’m a big fan. Have a listen to his song ‘Lay Me Down’ from Cyndi Lauper’s ‘Bring Ya To The Brink’ album. Gorgeous heartfelt beats and keyboard swells with emotion.

So I’ve got the rest of this week in Stockholm to sort out these songs and then I have decided to go home for a weekend instead of having Richard come here for the weekend because I’d like to spend time at home with the boys before I head off for a month (gulp!). I think it’s the longest we’ve ever been apart. L

See what I do for you! ;)

Let me tell you some random unrelated things.

*It’s very surreal being in a strange city on your own, let alone a city where English is not the first language. The Swedish are incredibly well educated and speak both their mother tongue and English – but when you’re on your own in public you realize that no one is speaking your tongue and you drift through the city a bit like a ghost. Going to the grocery store is very strange . Just trying to work out what ‘Kyckling’ is (it’s chicken) was a struggle. Don’t get me started on finding a low fat yoghurt. It seems the Swedish love yoghurt and it comes in many varieties. They have drinking yoghurts that look like cartons of milk. And cream that looks like milk packaging. And custard that looks like yoghurt packaging. You just assume packaging is going to be the same, but that would make the world a very boring place! Save to say I almost ate my cereal with double cream!

*I’ve had a couple of funny fan encounters which made me realize there is no privacy on twitter! Someone recognized the hotel from the décor of a picture I posted in my room so promptly turned up. One chap phoned my hotel room and pretended to be the gym calling to tell me I’d left something in there. I thought ‘How weird.. I don’t remember leaving anything’. Worse, he said it was ‘cd’s or a music wallet’ and I thought ‘Well that could be me!’ So I agreed to come down and check it out. Turns out it was not the gym but a very clever trick by this fella to get me to appear in a timely fashion and sign his photos! None of that old school ‘waiting around all day for the popstar’ rubbish. He just calls the room directly! (I promptly changed my name at the front desk).

*My hair is now thoroughly giving me grief. I have not really been growing it so much as not cutting it to see what I wanted to do with it for next year. Well it’s grown, and then some! I think it’s the longest it’s been since the beginning of the Spin era. I’m not sure I’ll keep it this long. Off to a hairdresser on Friday to get it snipped a bit. Not short though, don’t worry. Or do. I’ve given up lol! I just know I wake up looking like Chewbacca. I know I just spoke about hair. But please, no suggestions or tips mwhaha . Loads of love.. me.
xxD

The view from my hotel room

http://www.darrenhayes.com/dh/images/blog_images/hotel-view.jpg

Me debating what the hell to do with my now literally out of control hair

http://www.darrenhayes.com/dh/images/blog_images/hair.jpg

Carl puts down guitar tracks while I mug for the camera

http://www.darrenhayes.com/dh/images/blog_images/mug.jpg

 Отправлено: 22.03.10 07:12. Заголовок: Monday, March 22, 2..

Monday, March 22, 2010

MAKING THE ALBUM VOLUME 9.
Category: Music
Originally written on Tuesday, 29 September 2009 for member's of 'Delicacy' Darren's official fan club www.darrenhayes.com

Sydney Australia – 11.39 am Tuesday September 29, 2009

I’m in a famous Australian recording studio listening to the refrains of ‘G’ as studio engineer Mike sorts through the hundreds of takes of guitars that we recorded last week. In the other room, Aaron is setting up microphones to record a brass section to be placed on the song ‘W’. Yesterday we recorded a 20 piece orchestra on 3 songs ‘H’ ‘S M’ and ‘G’. It was possibly the most stressful day in the entire recording process!
But back to that later.

Flash back to Los Angeles. The last time we spoke, it was as I was about to head into more sessions with Brian West, he of Track and Field (Nelly Furtado) fame. I can happily report that he excelled. Or rather we did. We wrote a song ‘T L F’ which is probably one of the most unique narratives I’ve written in a song. I can’t really give anything away until you hear it. But like the previous song I did with Brian, it’s got a lovely understated quirk to it. Lush and introspective but with a colorful language.

I did 2 days with Brian, then rushed back over to Walter A’s house to finish vocals on ‘L’ (or it might be called ‘R’) – and that was a huge job. I left his house on a Friday night and then had 2 days of bliss in San Francisco. I can’t tell you how fantastic it was to disappear into a willing anonymity as opposed to the kind of anonymous faceless feeling I had in Los Angeles. In San Francisco, I wanted to be enveloped by the city, wrapped up in my memories. I walked around like a ghost haunting my past.

I hired a car, and I know this sounds crazy, but it made me so happy! Because I was driving an SUV around in America which is an experience unique to that country. In the UK I sit in traffic in my tiny mini cooper (purchased mainly because the one I love loves it) having no idea why I’m waiting. At least in my (rented) petrol guzzling earth destroying SUV I can see why I’m stopped in traffic. Ace!

Anyhoo I drove around, I bought records. I sang songs loudly (Huey Lewis and the News). I drank loads of Peets coffee. I saw a movie. I bought vintage clothes. It was so fun. And necessary. Because what was about to happen was mammoth.

I made the journey over the Pacific Ocean and arrived in Sydney at the customary time of god awful early feeling wide awake. Which is fine until about midday when you realize your eyeballs are falling out of your head with exhaustion but you have to stay awake for another 12 hours.

I went straight into work on Tuesday September 15 and spent the week with Justin in a small room programming and preparing for the big sessions the follow week. Programming involved working intensely on the electronic elements of the songs and adding to and enhancing what we already had. It can be laborious and boring but also thrilling when you hit on some new sound you hadn’t anticipated. In these sessions we worked on a Rick Nowels song called ‘P’ – and pretty much transformed it into a new beast altogether. Like the Walter A song, I have no idea if it will end up on the album – but it’s great to have them on the table for choices.

At this stage, everything is fair game and I just have to trust that the cream will rise to the top, as it always does.

The second week in the studio was in a much larger room – with a proper Neve desk and next to a massive room suitable for recording drums and the orchestra. As with some of the songwriting, I found myself reunited with people I haven’t worked with since the Savage Garden days. First up there was the drummer Terapai Richmond who drummed on the first album (songs like ‘Break Me..’ and ‘Moon..’). He is considered to be one of the best drummers in the country and his work on the tracks here was supreme. He drummed on 5 songs but most notably provided a calamity of noise on ‘W’ – as song that, as we speak has over 250 separate elements. The largest I’ve ever had on record.

In keeping with the reunion theme, the next day my old Savage Garden bass player, Lee Novak came down from Brisbane. Well he eventually came down. The red dust storm that dominated the country seemed to bring most of Sydney and Brisbane to a halt. I woke up in the morning and it looked like the end of the universe. Justin said he half expected to see zombies emerging from the copper cloud. Consequently Lee’s flight was delayed and we spent all day waiting for him to arrive. When he eventually did, his luggage was missing.
At some point in the evening he and his bass made it to the studio and we recorded his parts on ‘W’ and it was worth the wait. He’d been practicing for weeks and brought a bounce and stride that is difficult to emulate with synths.

Wednesday was more bass with Lee, again 5 songs in total. All sounding ace.

Thursday was guitar heaven. Rex Goh, who played the solos on ‘Truly Madly Deeply’ and ‘Moon..’ (see the them here?) came in and TORE IT. UP. He also played on about 5 songs and his contribution was effortless.

At the end of each big day with the players, we had to sift throught he performances and choose what we wanted to keep and blend it into the master tracks.

So that takes us up to week 2 in Sydney.

Monday Septebmer 28 was the day recording the live orchestra. It would be no exaggeration to say it was the day from hell. Why is anyone’s guess. Let’s just say we worked with a very distinguished and legendary arranger who perhaps had his wires crossed with regards to what it was we were asking from him. The end result was, our very tightly timed session of 3 hours for 3 songs became a frenzy of stress as Justin could be seen hurriedly scrawling parts by hand on to manuscripts (at one point I was literally singing parts to the lead violinist) to make sure we had all the pieces we needed to be recorded.

It was a joint effort and by the end of it poor Justin wanted to rip his hair out.
But we got what we needed.

Which leads me up to today, Tuesday the 29th of Sept. I’m lying on a couch (below is an image of me doing the same a few days ago when I was ill but still soldiering on hehe). Today we finished a live brass section for the song ‘W’ which was arranged by Graham Jesse. The section of 5 players did a brazilliant job transforming our pithy attempt at horns with a keyboard into full grunting marching band glory. I’m absolutely shattered and I can honestly say I haven’t worked this hard on an album for a long time. But I have only a few more days left of this pace before heading home for some much needed rest.
As I type this, I can hear Justin editing some of the strings we recorded. They’re sounding filming, huge – like an old musical. I’m going to write again when I’m home and I’ll let you know what’s happening next!

In the meantime, here are some photos from the last few weeks.

xD

Terapai Richmond at the drums



Sunny Afternoon in San Francisco



Magical Fog Rolls In



Looking out of Peets Coffee On Filmore St



The Desk



Justin At The Helm



Rex Goh Plays, Mike Engineers And I Look Drunk



Me Ill On The Couch

 Отправлено: 04.05.10 06:21. Заголовок: Tuesday, May 04, 20..

Tuesday, May 04, 2010

MAKING THE ALBUM VOLUME 10.
Category: Music
Originally written on 03 February 2010 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.com

OH MY LORDY.. I can' t believe how much time has passed since my last blog. I can only hope that as I am in writing another blog to you all I have been sufficiently forgiven. So much has happened since the last one, most notably my new year's eve show in London (a video blog will address this soon I promise ;) - that I don't really know where to start.

The most notable thing is, I blogged and told the whole world I'd finished recording - and then more songs started coming in. Yikes. How does that happen? Most notably there were more songs with Phil Thornally and Mads Hauge (they've just had 3 number ones with Pixie Lott) and then I put things on hold to prepare for the New Year's Eve show.

I think the total number of songs recorded specifically for this album now stands at about 17. But I'm not closing the gate until the album is literally being mastered, because as was the case with the first two Savage Garden albums, sometimes magic happens at the 11th hour. Did you all know that 'Truly Madly Deeply' was recorded as an afterthought and probably as a 'bonus track' until we realised how good it was? Or that 'I knew I loved you' was written in deep anger and frustration at the record label who told us there were no 'hits' on the record? Hehe. (I guess they were responsible for our second Billboard no.1 with that criticism so who can blame 'em?) So with this album I'm very much open to the idea that a 'Billie Jean' might pop its head around the corner (Michael famously hid the song until the last minute from Quincy Jones, thinking it not worthy..).

The exciting news today is, we are getting ready to mix a few songs. Two songs in fact. One 'D' (the Steve Robson song) and another 'T T T' (that I wrote with Carl Falk, the Swede).

Both are some of everyone's fave tracks on the album and potential singles. The mix engineer of my first choice is someone quite amazing so I'll let you know if that comes off.

But the mantra at Chez Hayes is slow and steady wins the race. I just want to get this album RIGHT. And I want it to be given every chance of being heard by as many people as possible. I simply can't wait to reveal more to you but right now I have to zip my (plump) lips.

Here's a little picture of me right this minute taken on my new lap top as I compose this blog to ya'll.



I say plump lips because they are dry from the winter and appear rather like they've been stung by a bee. That's some of my star wars toys behind me and a starbizzles to my left. Venti Decaf Americano with some sugar free Hazelnut and soy milk if anyone's buying.

Love to you...
Darren Stanley Hayes

 Отправлено: 18.06.10 10:27. Заголовок: Friday, June 18, 20..

Friday, June 18, 2010

MAKING THE ALBUM VOLUME 11.
Category: Music
Originally written on 06 March 2010 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.com

Saturday, 06 March 2010
MIXING HAS BEGUN!

Monday March 1.

It was the first day of spring today. At least that’s what I thought it was but apparently there’s a bit of a debate in the UK over which date is the official beginning of spring. Some say that it’s the 21st but the Meterological Office agrees with me and apparently so did the weather today. It was spring when I woke up to bright blue skies and shiny happy people in the park.. Such a contrast to the grimy day before where I typed to my sister on instant message ‘I’m so tired of winter. The paraphernalia and layers of clothing. Getting dressed and undressed is SUCH an ordeal!’

And lo and behold for this day at least winter went away.

Which was serendipitous considering today was the day I was meeting Robert Orton to mix the first two songs for my album.

http://www.soundonsound.com/sos/mar09/articles/it_0309.htm<\/u><\/a> ;

http://web.mac.com/hitmixer/www.HitMixer.com/Discography.html<\/u><\/a> ;

For those who didn’t google it or see my links, here’s some info on Robert : he started as an engineer for the legendary producer Trevor Horn. His first big mix was the song ‘All the things she said’ for Tatu. Obviously that song became a monster number one around the world and he began a whole new career as the guy who mixes hit singles whilst still working side by side with Trevor Horn. Most recently he’s mixed 5 of Lady Ga Ga’s U.S number one singles and Robbie Williams’ ‘Reality Killed the Video Star’ album as well as worked with Pet Shop Boys and Keane. He’s a top guy and a true talent.

Regardless of that stuff what is incredible to me is that I’d been a fan of his for a long time without realizing. When I was thinking about who I wanted to mix my new album I started listening out for songs that I thought sounded great on the radio. . Hands down almost every time I’d hear a song that I thought really jumped out I’d go home, google the song and find out it was mixed by Robert. ‘Bodies’ by Robbie Williams was one of the most recent, as was ‘Paparazzi’ by Lady Ga Ga. It has nothing to do with the style of the songs or the genre. The hook in for me was the science of the sound; the sonics. And that’s what you want from a good mix – you want someone to take your material and transform it from a good song into a great record.

In the past, mixing has involved going in to a studio for two weeks mixing a song a day and a very hectic pace. With this album it’s a totally different process. We decided we’d put our toe in the water and mix a few songs at a time and live with them.

Robert was sent rough demos of ‘T’ and ‘D’ before I met him so he had lived with the songs for a few weeks before he pitched up to mix. He spends his time working between Sarm studio in Notting Hill and Metropolis where we are today at The Powerhouse building in Chiswick. It’s a mammoth complex in, as the name would suggest, an old power station.

I don’t know where to start with Robert. I feel so incredibly lucky to be working with him and quite humbled by his approach because it is unlike any other mix experience I’ve had. He asked me eventually to explain how so and I was at a loss for words suffice to point out that he is so QUIET when he mixes.

Most other mix engineers have the song BLASTING all day and are or can be quite bawdy brash personality types (not unlike the breed known as lead singer or guitarist ie ‘me me me!!’). On the contrary he’s a very gentle soul, very quiet and methodical and literally spends ALL DAY finessing a song. He reminds me of myself in many ways because he’s the antithesis of the cliché. I think many people assume because I’m an entertainer I’m a loud or extravert personality but the truth is I’m quite shy unless I’m on stage or amongst very close friends. I have a button I can press to turn ‘it’ on – but off stage that button is rarely on.


Wednesday March 3

Well a whole 24 hours passed since I wrote that update – I staggered home from the studio at 1 in the morning and ventured back in to the studio the next day for a full days work and got home at 2.30 am. I was so buzzed I couldn’t get to sleep and it was 7.30 with the bright sun streaming through my window when I lay down to sleep.

If you followed my tweets you’d know I have been utterly humbled and blown away by this experience. The first song, ‘T’ came up like a blustering wind during the day and them whipped up like a cyclone at midnight. Seemingly from out of nowhere it went from sounding really good to slapping me upside the face. ‘T’ is a song that is very immediate : most people who hear it love it instantly and it was a challenge to mix first because it’s a potential single. That does put a pressure in the back of your mind, not to mention the fact that the rough mix was pretty damned good.

It’s a song I wrote with Carl Falk in Sweden last year and was one of the first I really committed to being an attempt to start my new album. It’s hard to explain how it sounds other than to say it is a big glorious melody like sunshine over a thick heavy sexy groove underneath. And it’s about trying to bridge the divide between two people who have retreated to their secret worlds.

Of special note is the fact that this song features lives strings recorded in Sweden an arranged by Mattius Bylund, the son of the now late Martin Bylund who was the string arranger and performer on most of the famous ABBA records you would have heard. Along with his wife an his son, Martin had an almost monopoly on strings that appeared on so many great Swedish records and I was very lucky to have had the family involved in my records with Carl Falk.

The song is quite clubby and throbby underneath but has so many live instruments like guitars and strings that it’s a fantastic hybrid of modern pop.

Robert managed to get the thunder in the bottom end throbbing but still had the live strings and beach boy-like harmonies sparkle on the top. I left the studio thrilled with the result. I must admit I drove around London in the wee hours of the morning blasting my own tune to the heavens. And loving it.

The next day Robert was mixing ‘D’ which could possibly be the first single. It’s a song I wrote with Steve Robson (Leona Lewis, Taylor Swift fame..). It is my favourite song on the album but what I would describe as a ‘grower’. It’s a sound that will not reinvent the musical wheel but a sentiment that absolutely gets me every time I listen to it. And it gets better and better each listen. I get a lump in my throat at certain points and it is within the lyrics to this song from which the album title came. I wish I could tell you some lyrics. Maybe I will sometime soon if you want me to. But for me, the whole point of the album can be summed up in this song.

The mix took longer than ‘T’.. it was something like 16 hours that Robert spent on it and I absolutely adore the results.

When it was finished I had to immediate get online and chat to my peeps in the fan club online because I really felt a glimpse of my future. It was tears of joy and a feeling of incredibly futuristic goose bumps of happiness that sort of overwhelmed me. I have such a good feeling about this song and what it might mean in the big picture.

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It’s now well and truly Saturday March 6 as I finish this update. It’s been a wild week – culminating in a fantastic brainstorming session at a graphic designer’s office in London where I hired the team who will be responsible for putting together the artwork and images that will become the visual face of my new album. Ironically I left the meeting with a similar elation to the one I had during the mixes.

We are in for a fantastic ride.



I love you

xD