HW: Oh yeah, I would agree with that, but also aside from LA, lyrically for this record I was really focussing on things. I did notice that some of the lyrics on the record are a lot more tender than previously. I just don’t go to "trendy" places.ĭIS: I think it was a Bukowski quote where he said people try to create a heart for LA because it doesn’t have one, artists sort of double up. I definitely went through a feverish couple of weeks where I was like ‘I hate it!’ But I really like it. I moved a few weeks before the guys got out there. I think it was the right place and the right time for us to go there. LA was actually really nice because we weren’t as distracted by the comfort of home. HW: There is no heart! There is no heart in the record! It just sucked the life out of all of us! Nah! I dunno. Contextually, did that help you to go on a quest to find the heart of LA and perhaps your own journey to find a new core of the band? Lot of good ideas!ĭIS: LA is quite an odd city, a place with no heart as it has no city centre. Jeremy Davis: Most creative things come when you’re on the toilet. Just knowing that we shared a toilet with him… TY: No, just his personal bathroom that he built that we used every day. It was a long haul making the record.ĭIS: Were there any scribbled notes from Prince left on the wall to inspire you? HW: So we were in a few different places but we were at Justin’s for the longest period of time and it was cool. And then we went from Sunset Sound to JMJ’s place. HW: We were just in his room, just chillin’. And we did drums at Sunset Sound, which is very famous, we were actually in Prince’s room that he built…he lived there for I heard like two years or something. HW: We were actually in a few different places because we did pre-production at like a rehearsal studio called Swinghouse. TY: He had stories about everything but acts like it’s so normal. Hayley Williams: There was a lot of Beck’s stuff… I don’t think there was anything that groundbreaking but it was certainly new for us, it was groundbreaking for us, personally.ĭIS: Whose equipment was lying around the studio? Were there any of Beck’s synths still lying around… So I mean there’s all sorts of synths and guitars, a gospel choir, we did a string section, yeah we put guitars through weird synths and we’d tweak ‘em. Whatever came to mind - we at least gave it a go if it was a valid idea.
Sean Adams (DIS): Please list the ingredients on the new record, because I was surprised to hear some glockenspiels in there, and I was reading an interesting interview with your producer Justin Meldel-Johnson, where he said there were guitars played through synths. With their self-titled fourth album set for release on April 8th, I had a quick listen to a few new songs, read a few early interviews that were available online, and was lucky enough to grab twenty minutes with three smiley Americans to interrogate them what they have in store for the fans/me. The threat of implosion has given them a new impetus and unleashed Paramore 2.0, that's unafraid to experiment and evolve (but not too much!). The threesome seem re-energised after riding out the past few years. And yet in spite of the fame (Hayley now has 3million followers on Twitter if such things help you to quantify the scale of their notoriety), they're a surprisingly human, humble, thankful, and delightfully upbeat bunch.
With number one albums and world tours of arenas, they are one of the biggest bands in the world right now. Green Day cast a shadow over much of Paramore's work to date, and are an obvious influence, along with No Doubt, Death Cab, Deftones, Weezer, Sunny Day Real Estate, Blink-182, and less obviously The Cure and The Smiths (although a few days of following Hayley Williams on Tumblr will quickly reveal she's a massive Morrissey fan). Not that the band particularly needed the snobs and the cynics to sell millions of records and tickets.
#PARAMORE SELF TITLED ALBUM COVER ITUNES MAC#
To these ears, the song-writing is of a Rumours-era Fleetwood Mac standard, and if "emo" was a more critic-friendly genre, then the commentariat would have cooed and cookoo'd that Brand New Eyes was a truly special and significant record. Since Green Day's 1994 break-through album Dookie, very few rock/pop/punk/alt acts have penned such a consistent string of undeniably great songs. I say "the fans", but I am one of them: a fan, totally hooked on their uplifting twist of emo's misery, skate-punk's pow-pow-pow and those giddying alt-pop melodies, oh yes those gorgeous pop hooks and choruses designed for shouting-a-long. For Paramore fans, the idea that the band were on the verge of imploding, amid a heap of conjecture, was a real kick in the guts. The spectre of death really focuses the mind.
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