Saturday, May 17, 2008

The Subways Track-By-Track





Do you know that the Subways are set to release their second album?! They had recorded the album some time ago, its strange why the album is taking so much time to be release! By the away, an interesthing thing about this tracks: they were recorded with the sound engineer Butch Vig (the man who recorded Nevermind in 1990/91 with Nirvana). In the next words you can read their thoughts about the new songs:


"Billy, Charlotte and Josh give ROCK SOUND an exclusive track-by-track guide to their new album 'All Or Nothing'…

GIRLS AND BOYS
Billy: “We wrote it when we were on tour in America and I remember playing it for the first time when we were soundchecking. Everybody came out and went, ‘What the fuck is that, man? That rocks!’ It's about alienation – not feeling part of any wave, scene or style.”

KALIFORNIA
Billy: “‘Kalifornia’ is basically about celebrity culture and how everybody strives for this huge dream, which is completely and utterly empty and devoid of anything. I just want to tear the throat out of these fucking idiots who contribute nothing to society. If you think back to 100 years ago people who were famous were artists, poets, politicians, scientists and now it's fucking imbeciles who have nothing to say hogging the limelight.”

ALRIGHT
Billy: “It's just a song about struggle, basically. It's about everything that's gone on in this band. We truly believe that, ‘Every single second is another chance for you to turn it all around’. It's a quote from Penelope Cruz's character in ‘Vanilla Sky’. You've got to keep going and believe that you can turn it all around. It's like the cycle of life. It's going to go up sometimes and it's going to go down sometimes. I think that's our poppiest song.”

SHAKE! SHAKE!
Billy: “I wrote the chorus for that ages ago. The bedroom I shared with Josh had a really crap wall between us, so you can hear everything that's going on.”
Josh: “I was in my tiny little room next door and I came out and knocked on the door and went [cigar-chomping American manager voice], ‘That's a hit! You guys are gonna be big!’”
Billy: “The lyrics are basically about feeling utterly useless, but wanting to do good. It is about doubting myself as a brother, a son, a boyfriend or a songwriter even – feeling a little bit incapable. And then I came out with one of my best songs!” [laughs].

MOVE TO NEWLYN
Billy: “I wrote the lyrics whilst high because I was really ill in Germany. I had food poisoning and we were over there to do a few shows. On one of them I played for about three songs and just collapsed. I was carried back to the hotel and the doctor came and injected my bum with this drug and said, ‘Just let him sleep for about 30 hours’. I woke up and I was feeling shit and I switched on the TV, the only English speaking show was this programme on fishermen in Newlyn and I thought, ‘I'd kill to be back in the UK. I'd kill to be in Newlyn just chilling out by the seaside’. I wrote the chorus and a few lines and, during our period off, I just wrote about wanting to get out there and be a sponge and see all of these things. All of these songs have got such positive sentiments. I sound like such a fucking smug git.”

ALL OR NOTHING
Billy: “That's clearly about falling out of love and falling back in.”
Charlotte: “My favourite line in the whole record is, ‘I like an option but I hate to choose’. That's such a great line because it's so fucking true.”
Billy: “That song is just me laying the conflict out. You've got to be totally honest.”
Charlotte: “It's not just about me and Billy breaking up. It's about everything that he's experienced to make him such an honest songwriter.”

I WON'T LET YOU DOWN
Billy: “That's about arguments and about wanting to be a better person. It's laying down the promise and I'm going to fucking stick to it.”
RS: You can't help but let people down though can you?
Billy: “That's the thing, man. At least I'm gonna try. Obviously I was feeling guilty [about the break-up with Charlotte] and we were hurt on both parts I think… Yeah… yeah… yeah [trails off].”

TURNAROUND

Billy: “That's just a pure fun song. A, ‘Let's 'ave it’ song. It's about how I really don't believe in apathy. The attitude that ignorance is bliss is something that I think is disgusting.”
Charlotte: “Some people are just prepared to sit back and hope things come to them – they’re content to do something that they're not completely happy with. No, you have to strive.”
Billy: “All of these people who are so indifferent… I just want to shake the apathy out of them and go, ‘Fucking care!' Look at the world around you!’”

OBSESSION
Billy: “The chorus was originally, ‘I could travel 10,000 miles so I could see your smile,’ and then I played it to you [Charlotte] and you went, ‘No, it's not right is it?’ She said, ‘I would travel 10,000 miles so I could escape your smile,’ and I thought [ruefully], ‘Yeah!’ [small voice] ‘Prick.’”

STRAWBERRY BLONDE
Billy: “That was one of those things where the simplest thing took the longest to do. It was the simplest guitar line and it took me two days. People who work in the studio were going, ‘Do you want me to come in and play it for you?’ I remember being really proud of that song. I played it to my mum and she fucking cried and I went, ‘Oh you fucking pussy!’ She goes, ‘Billy, you're so talented!’ – Shut up mum.”

ALWAYS TOMORROW
Billy: “That's celebratory. It's always fine to hold on to your sorrow, as long as you use it – as long as you learn from it. It's one of my favourite tracks on the record. It was really nice because we didn't have a lot of expectations with this record. People at the label were like [indifferently], ‘Yeah, you're gonna work with Butch Vig but…’ But when we came back with the album they were like, ‘Fucking hell! This is actually really good’. There were no expectations whatsoever. There was no label presence in the studio throughout the whole thing. It's one of those tracks that I don't think people are going to get right away, but I really like it.”

LOST BOY
Charlotte: “That's completely Billy.”
Billy: “That's my track. These guys let me put it on the record. That's my indulgence. I wrote it when I couldn't sing. It's quite soft so I could sing the melody. It was around that autumn time when everything's really beautiful and orange, and you're reminiscing about the summer before – about going out and having fun, and after a night out drinking, standing with your lady by the taxi rank and saying, ‘You know, I can't wait to get home and cuddle up and watch a movie.’ I don't like to think of it as soppy, but just really, really heartfelt. I've never wanted or felt compelled to write a song like that before.”


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