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The Trews
The Trews
CD, 2014, Heftbeilage, Cardsleeve
| Herstellungsland | Polen |
|---|---|
| Veröffentlichungs-Jahr | 2014 |
| Zeit | 44:33 |
| EAN-Nr. | nicht vorhanden |
| Label/Labelcode | nicht vorhanden |
| Plattenfirma/Katalog-Nr. | Classic Rock Magazine / ROC201-09A-14 |
| Musikrichtung | Rock: Alternative Rock, Classic Rock, Hardrock |
| Sammlungen | Gesucht | Flohmarkt |
|---|---|---|
| 3 (2 privat) | 0 | 0 |
Tracklist
I = Instrumental
L = Live
B = Bonustrack
H = Hidden Track
C = Coversong
| CD | |||
|---|---|---|---|
| Track | Titel | Zeit | Besonderheit |
| Gesamtzeit | 44:33 | ||
| 1. | Rise In The Wake | 4:02 | |
| 2. | Age Of Miracles | 3:35 | |
| 3. | Permanent Love | 4:46 | |
| 4. | The Sentimentalist | 4:19 | |
| 5. | 65 Roses | 3:59 | |
| 6. | What's Fair Is Fair | 3:17 | |
| 7. | Where There's Love | 4:38 | |
| 8. | In The Morning (Feat. Serena Ryder) | 4:33 | |
| 9. | New King | 2:40 | |
| 10. | Living The Dream | 4:55 | |
| 11. | Under The Sun | 3:49 | |
Infos
Free with this issue, the self-titled fifth album from Canadian alt. rockers The Trews was inspired by failed relationships, terminal illness and chat-room trolls. Enjoy, says guitarist John-Angus MacDonald.
Spielzeiten laut Software (iTunes)
Classic Rock Magazine / Classic Rock issue 201 SEPTEMBER 2014
TEAM ROCK
[SID-Code Presswerk: IFPI UU015]
[SID-Code CD-Master: IFPI LK97]
[Matrix-Nr. 2100005095440 CR201 CD2softwarelogistics]
Bild 1: Cover
Bild 2: Backcover
Bild 3: CD
Bild 4: Heftcover
Bild 5: Heftcover
Bild 6: Heft-CDs
When an established band self-titles the umpteenth album of their career, there's usually a subtext. Forget what has gone before. This is us. So it proves with the eponymous fifth release from Canadian alt.rockers The Trews, which by now you'll have shaken from this issue's wallet. "While we were making this record, the tenth anniversary of our first album happened,"remembers guitarist John-Angus MacDonald. "This album is something like a reboot, and making it self-titled sorta drilled that home. We don't want to enter the tenth year of our career on a confusing note. We want to be like, 'We're here for another ten, and this is why. Check this out...'"
1 Rise In The Wake "We've gotten into the habit of starting every album with a barn-burner. l think of sequencing an album like sequencing a live show. You don't open a show with a ballad. You want to take people on a ride and come out guns blazing. This song was kicking around from the very early stages, but it really came together at the end, when our producer encouraged me to come up with a lick that would go and go, like a Thunderstruck or an Enter Sandman."
2 Age Of Miracles "There was that famous Louis C.K. interview where he talked about how everything is awesome and everybody's sad. Like, how life has never been easier, but everybody is feeling disenfranchised. So that was the entry point of the song. We're living in the age of miracles, but everybody's lost at the same time. The riff in the bridge came about when l went on my honeymoon to Spain and bought a laúd. l had no idea how to even tune it!"
3 Permanent Love "It's really intimidating getting back together to write after two years touring. We're not one of those bands that writes on the road, so you wonder if you'll even know how to do it anymore - until somebody brings in something almost fully formed that gives you the confidence to say, 'OK, we're ready to make a record'. So Colin [MacDonald, vocals] showed us Permanent Love, and then the floodgates opened. The lyric sorta begs the question if permanent love is even a possibility."
4 The Sentimentalist "l wrote that on ukulele in Hawaii, l often travel somewhere and pick up a new instrument. Sitting by the pool, l came up with the riff and that Beatlesy part in the middle, then Colin added the sort-of Beach Boys melody to the verse. The title is Colin talking about himself. That song is written from the perspective of an overly emotional, sensitive person [in a relationship with] another person who is really cold and stoic and reserved. From what l've been told, it's a very literal version of what was going on with him in a relationship at the time."
5 65 Roses "That was written for our late agent, who passed away last year of cystic fibrosis. He was told his whole life that he would die before he was twenty, and that was what he accepted as a young man. But he actually lived to 37, which is phenomenal in itself, and made him, like, the oldest living Canadian with the disease... He was always living for the moment, and really positive, focused and awesome. Then he passed, and he was gone. We played at his memorial. That song is our little tribute to him, his spirit and the strength that he had."
6 What's Fair ls Fair "This was the first single off the record - that almost didn't get onto the record. Our producer was helping us whittle 25 songs down to 12, and this was on his 'no' list. But when it came to the studio, it took on an enormous life of its own, and became our favourite. It's a rhythmic jam, based on a half-time groove. We put layers upon layers of intense, atmospheric guitar, and played Wurlitzer through a dirty, crunchy amp. We made a sort of sonic tapestry, and the energy of it at the end of the Session was undeniable."
7 Where There's Love "That's another Colin song. He's the most remedial guitar player of all time, but he makes a great sound, and if you just pass him the guitar in a different tuning, he’ll fumble into something good. That was the case here. l brought the ascending lead riff, and that was worked up in a couple of jams last spring, l think me and Colin are like opposite sides of the same brain."
8 In The Morning "That chorus was written in Hawaii on the ukulele as well. Colin is singing in a completely different register, and the production has a great Fleetwood Mac quality. Then of course, there's the duet with Serena Ryder, who’s a great singer-songwriter from Canada. When a duet is suggested, you kinda cringe, like it’s gonna be some kind of Disney thing. In this case, it turned out nice, because of the reflective nature of the lyrics. It’s not saying, 'We're definitely going to be OK'. It's saying, 'We have have to believe we're going to be OK..."
9 New King "A sleazy riff? Oh yeah, totally. New King is riff and groove-based, and tongue is firmly planted in cheek with the lyrics. Basically, we had some negative press surrounding some crap that went on a couple of years ago, and it was all based on internet trolling. Really, it's the easiest thing in the world to shoot your mouth off from behind the safety of your desk. So this song became a tongue-in-cheek attack on those kind of people, who get off on hating indiscriminately from the safety of their mom's basement.”
10 Living The Dream "l had this riff in my back pocket almost since our second record. Y'know, everybody has their favourite thing: you bring it in at every cycle and say, 'Hey man, this never became a song...'. So l did that every record cycle, but you can't force something if it's not happening. This time, it did happen. Colin came up with the melody in five minutes, then we had a ton of fun in the studio. We brought in a cellist playing in a classical style, layered all these vocals, went crazy with guitar effects…”
11 Under The Sun "We did a PledgeMusic campaign to fund this album, and of the pledges was the opportunity to come in the studio and sing gang vocals with us. For this song, we put 20 fans on the studio floor, and we were kinda wondering how this was gonna work, like, ‘What if these people can't actually hold a note?’ But everybody sang great. So what you hear at the end of Under The Sun is our fans, singing along with us in the studio. For me, this song is a summation of what we‘re all about.”
Spielzeiten laut Software (iTunes)
Classic Rock Magazine / Classic Rock issue 201 SEPTEMBER 2014
TEAM ROCK
[SID-Code Presswerk: IFPI UU015]
[SID-Code CD-Master: IFPI LK97]
[Matrix-Nr. 2100005095440 CR201 CD2softwarelogistics]
Bild 1: Cover
Bild 2: Backcover
Bild 3: CD
Bild 4: Heftcover
Bild 5: Heftcover
Bild 6: Heft-CDs
When an established band self-titles the umpteenth album of their career, there's usually a subtext. Forget what has gone before. This is us. So it proves with the eponymous fifth release from Canadian alt.rockers The Trews, which by now you'll have shaken from this issue's wallet. "While we were making this record, the tenth anniversary of our first album happened,"remembers guitarist John-Angus MacDonald. "This album is something like a reboot, and making it self-titled sorta drilled that home. We don't want to enter the tenth year of our career on a confusing note. We want to be like, 'We're here for another ten, and this is why. Check this out...'"
1 Rise In The Wake "We've gotten into the habit of starting every album with a barn-burner. l think of sequencing an album like sequencing a live show. You don't open a show with a ballad. You want to take people on a ride and come out guns blazing. This song was kicking around from the very early stages, but it really came together at the end, when our producer encouraged me to come up with a lick that would go and go, like a Thunderstruck or an Enter Sandman."
2 Age Of Miracles "There was that famous Louis C.K. interview where he talked about how everything is awesome and everybody's sad. Like, how life has never been easier, but everybody is feeling disenfranchised. So that was the entry point of the song. We're living in the age of miracles, but everybody's lost at the same time. The riff in the bridge came about when l went on my honeymoon to Spain and bought a laúd. l had no idea how to even tune it!"
3 Permanent Love "It's really intimidating getting back together to write after two years touring. We're not one of those bands that writes on the road, so you wonder if you'll even know how to do it anymore - until somebody brings in something almost fully formed that gives you the confidence to say, 'OK, we're ready to make a record'. So Colin [MacDonald, vocals] showed us Permanent Love, and then the floodgates opened. The lyric sorta begs the question if permanent love is even a possibility."
4 The Sentimentalist "l wrote that on ukulele in Hawaii, l often travel somewhere and pick up a new instrument. Sitting by the pool, l came up with the riff and that Beatlesy part in the middle, then Colin added the sort-of Beach Boys melody to the verse. The title is Colin talking about himself. That song is written from the perspective of an overly emotional, sensitive person [in a relationship with] another person who is really cold and stoic and reserved. From what l've been told, it's a very literal version of what was going on with him in a relationship at the time."
5 65 Roses "That was written for our late agent, who passed away last year of cystic fibrosis. He was told his whole life that he would die before he was twenty, and that was what he accepted as a young man. But he actually lived to 37, which is phenomenal in itself, and made him, like, the oldest living Canadian with the disease... He was always living for the moment, and really positive, focused and awesome. Then he passed, and he was gone. We played at his memorial. That song is our little tribute to him, his spirit and the strength that he had."
6 What's Fair ls Fair "This was the first single off the record - that almost didn't get onto the record. Our producer was helping us whittle 25 songs down to 12, and this was on his 'no' list. But when it came to the studio, it took on an enormous life of its own, and became our favourite. It's a rhythmic jam, based on a half-time groove. We put layers upon layers of intense, atmospheric guitar, and played Wurlitzer through a dirty, crunchy amp. We made a sort of sonic tapestry, and the energy of it at the end of the Session was undeniable."
7 Where There's Love "That's another Colin song. He's the most remedial guitar player of all time, but he makes a great sound, and if you just pass him the guitar in a different tuning, he’ll fumble into something good. That was the case here. l brought the ascending lead riff, and that was worked up in a couple of jams last spring, l think me and Colin are like opposite sides of the same brain."
8 In The Morning "That chorus was written in Hawaii on the ukulele as well. Colin is singing in a completely different register, and the production has a great Fleetwood Mac quality. Then of course, there's the duet with Serena Ryder, who’s a great singer-songwriter from Canada. When a duet is suggested, you kinda cringe, like it’s gonna be some kind of Disney thing. In this case, it turned out nice, because of the reflective nature of the lyrics. It’s not saying, 'We're definitely going to be OK'. It's saying, 'We have have to believe we're going to be OK..."
9 New King "A sleazy riff? Oh yeah, totally. New King is riff and groove-based, and tongue is firmly planted in cheek with the lyrics. Basically, we had some negative press surrounding some crap that went on a couple of years ago, and it was all based on internet trolling. Really, it's the easiest thing in the world to shoot your mouth off from behind the safety of your desk. So this song became a tongue-in-cheek attack on those kind of people, who get off on hating indiscriminately from the safety of their mom's basement.”
10 Living The Dream "l had this riff in my back pocket almost since our second record. Y'know, everybody has their favourite thing: you bring it in at every cycle and say, 'Hey man, this never became a song...'. So l did that every record cycle, but you can't force something if it's not happening. This time, it did happen. Colin came up with the melody in five minutes, then we had a ton of fun in the studio. We brought in a cellist playing in a classical style, layered all these vocals, went crazy with guitar effects…”
11 Under The Sun "We did a PledgeMusic campaign to fund this album, and of the pledges was the opportunity to come in the studio and sing gang vocals with us. For this song, we put 20 fans on the studio floor, and we were kinda wondering how this was gonna work, like, ‘What if these people can't actually hold a note?’ But everybody sang great. So what you hear at the end of Under The Sun is our fans, singing along with us in the studio. For me, this song is a summation of what we‘re all about.”