Sue&Unicorn

[Mardj]

легкая попса под акустическую гитару и без надрывов
рилейтед стафф (интересно когда оно перейдет в "не рилейтед"?)
ну в общем
исполнитель: Sue & Unicorn
композиция: Hollow

смотреть тут

@темы: media stuff, related sruff, sue & unicorn

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[darkflame]

@темы: video

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video KINGDOM OF WELCOME ADDICTION

[KOWA keeper]

беру себя в руки
СМОТРИТЕ
ПОЙТЕ
ТАНЦУЙТЕ
СХОДИТЕ С УМА
ЭТО ЭНЕРГЕТИЧЕСКАЯ БОМБА!

@темы: kingdom of welcome addiction, media stuff, video

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OFFTOP franz ferdinand /// can't stop feeling

[Mardj]

Это "хоум-мейд видео" вызывает бурю позитивных эмоций!!! какая прэлэсть)))))

чтобы смотреть все это безобразие кликаем сюда

обновлено

@темы: franz ferdinand, не рилейтед но тоже интересно, offtop

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внезапно фанарт

[darkflame]

IAMX by ~Lora8 on deviantART

@темы: fanart

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orgasmic stagedive

[Mardj]

OMFFFFF GOD!
Corner is so hot!

@настроение: aghr!

@темы: media stuff, stagedive, live

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ноты

[KOWA keeper]

Рыская по всемирной сети мы наткнулись на весьма интересный ресурс. Ноты и табулатуры в студию.

www.guitaretab.com/i/iamx/

Я думаю, сайт будет интересен-полезен для многих =)

Так-как у нас тут сообщество определенное, то ссылка на страничку с аккордами для Missile и табами для President.

Там можно наискать еще чего душе угодно =)

например

Robots in disguise www.guitaretab.com/r/robots-in-disguise/ Sneaker Pimps www.guitaretab.com/s/sneaker-pimps/ White rose movement www.guitaretab.com/w/white-rose-movement/ muse (ого!) www.guitaretab.com/m/muse/

Дорогие сообщники! присоединяйтесь к культивации сего маленького королевства, постите, флудите, забрасывайте интересными ссылками и рилейтед стафом =)

FEEL YOURSELF FREE to do everything you like!

в пределах разумного, естественно =)

@темы: media stuff, missile, notes, president

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еще одно интервью 11.06.09

[KOWA keeper]

Да, возможно я решил зафлудить всё сообщество. Тут есть интересные факты.
приятно убеждаться еще раз что Корнер все-таки хороший человек

почитать полную версию можно тут

Interview with Chris Corner of IAMX 6/11/09

What’s the concept behind IAMX?
IAMX is a manifestation of something I’ve been wanting to do for a long time which is actually exist outside of the traditional music industry and to have an independent project that encompasses many different things-visuals, music, attitude, art, a kind of lifestyle concept, I guess. The music is simply the first step for me and the stage performance is another step, the visual aspect is another step. IAMX represents this attitude, this lifestyle that is an alternative way of living and creating, outside the normality, the boundaries of the traditions of this industry.

How has living in Berlin allowed you to escape the music industry and how has it affected your latest CD?
Berlin is very free and liberal, open place. It’s very cheap so it’s really good for artists. It’s like a little oasis in the middle of Europe and it attracts many different artists and musicians it’s a real sort of cultural melting pot of very interesting people and people that don’t really care too much about what other people think of them. I lived in London for a long time and I’ve traveled a lot obviously and I bumped into or I saw many different levels of fame and money and people that thought they should be cool or do certain things to be cool and I wanted to run away from that, I wanted to find a place where that didn’t really exist. Berlin is that place for me, I moved there and I found that I didn’t have to care anymore about what people thought about me and I could just be free to explore my personality, my quirks, my vices, my idiosyncrasies, and be proud of it.

Can you explain the title of your latest CD Kingdom of Welcome Addiction? What kind of addiction? Does this kingdom actually exist?
I tried to use the word addiction in a positive sense or to play with the word to open it up a little bit so it’s not weighed down by negativity. Through hedonism and experimentation, I personally found a way of living that is good for me. I’m not saying that everyone should, I’m just saying that it’s possible. I think this might be a controversial statement, but I think some addiction is positive and I mean it in the sense of addicted to music, to work, to motivating yourself, to driving things. I like people with drive and I like to have drive and I don’t mean in a vicious, ambitious sense. I mean more of a love of life and for experimenting with things. Exploring things. Addiction, I’m trying to use it in a positive sense and I know that people, when they listen to IAMX music, they sometimes see it as very dark and depressing and it’s me trying to put a little bit of a humorous side to it.

Your lyrics are provocative. Do you use your music to send a message or as a form of self-expression?
It’s a form of self-expression, that’s all I can really do. I don’t like to preach, I think that’s boring but I obviously need to use freedom of expression to be able to say what I see as being wrong with the world. Sometimes I play with things—words—to be provocative, maybe to drive people to question things rather than dictate to people. I don’t want to say “this is how it is” but there is a level of observation that I like to use and if I look at the world and I think there is something wrong with the world then I would like the freedom to say that stuff. It’s not necessarily what I believe, it’s a way of playing with expression. Also to motivate people to think.

Your music deals with emotional pain and worldly anxiety. How does suffering play into your own creativity? Do you think it’s necessary for creativity?
I think it’s overrated. It’s an age-old question and I think suffering is one of two things. I think suffering is glamorized and overrated and it’s been glamorized for too long—it’s hyped—therefore people feel that to be interesting enough and inspiring enough of an artist you have to somehow have suffered. Everybody suffers. Just being alive is suffering. Being alive is also very beautiful. It depends how you use these things. I think it’s a dangerous game to glamorize artistic suffering. It’s been done in the past, you know people killing themselves and becoming famous because they’ve killed themselves and being held as geniuses and all that kind of stuff. It’s just too much stuff for a human mind to deal with. I think if you’re good, you’re good whether you suffer or not, to an extreme. I think you can do great wonderful art without having to really suffer. On the other hand, everybody suffers and I am not an exception. I don’t think I necessarily suffer more than others, but I maybe know how to channel it better.

You don’t just play music—you perform a show. How did you get into incorporating costumes and visuals into your live performances?
I was asked that question today and I thought, was is it I like about it? It’s a question that everyone wants to ask: what is the idea behind having an act? I don’t’ really see it as an act. From an early age, I was dressed up by my sister and was kind of experimented on by her and I think I really enjoyed it. I enjoyed playing with theater and I love film and I love color and I love freaks and I just love all of that playfulness. It’s just another part of the experiment. I don’t see why you can’t do serious interesting music and dress up. I don’t see why they have to be mutually exclusive because why not? Why not put a huge wig on and sing about very painful things? I don’t think you have to be dry and sit in a tee shirt and have a big beard and be taken seriously. That’s just my view. I just enjoy it. It’s really a very honest expression of who I am rather than the person I want to be.

Do you think that the theatrics of performing…I know you said they don’t contradict the seriousness…but on what level does it glamorize suffering? Do you think there’s a conflict there? And to what level are you examining or questioning it?
I think maybe in my case, it somehow gives a lighter side to it or it gives you a breath of fresh air from the weight of the lyric or music. Having that playfulness—it balances it out for me because there’s so much sincerity and fragility in a lot of things I do. And aggression. For me to dress up is a way of somehow not taking myself too seriously and being able to face myself without not being able to go on, in terms of performances…not suicidal tendencies. For me, dressing up is partly that, partly being able to build myself into a state where I can begin to expose myself which is a really good form of therapy, to dress up, to rip myself apart, to almost expose the ridiculous nature of celebrity because it is ridiculous and I think for me, dressing up is a way of accepting t hat and taking it to an extreme and enjoying it and reveling in rather than this sort of decease of our times—this big brother reality, celebrity culture which is vile and disgusting I think because people want to be famous for being famous which is a really strange concept. “ I want to be famous because I just want to be famous.” There’s not enough behind it for it to sustain itself so in the end you’re building a culture based on nothing because there’s nothing really behind it and it’s only going to fall down. So my way of dealing with that is dressing up and freaking out.

That’s a good way. So you have a large following…
Do I?

I feel like you do, in Europe definitely and it’s coming over to the US.
Yeah I’m more surprised that that’s the case.

So what kind of people does your music attract? What kind of people do you want your music to attract?
I want people to think, I want people to question why they’re listening to music, what they get from it, what it gives them, what the value of art is in general because we live obviously in a downward culture and it’s kind of destructive for artists, independent artists at least. People like me can’t really make money if people steal music. It’s a boring thing to say but I would like the people that listen to the music—and I think most people do—have a conscience about what they get and the value of things and put that into balance and not just my music, but art in general, good music. The thing about the downward culture is that you dumb down people and you create a McDonald’s style musical industry where you have a Big Mac Madonna tune for 99 cents but people steal it anyway and therefore everybody is brought up on this culture of just taking and then when you get people like us—independent projects—they take it without having really the conscience. But that’s people coming new to the project. I think anybody that’s been with the project is usually very conscientious. They’re thinking people because if they listen to IAMX in the first place, they got past the intelligence test.

What’s your creative process like?
It’s quite chaotic. I have many ideas, I sometimes think I have like 20 songs and then when I finish I realize I’ve got like 8 and one song is the chorus of another song and they all end up being mixed together. I generally write on the guitar and the piano so I’ll sit down and work out the basic structures of each song with the guitar and piano. I have a kind of baby language, which I have for my lyrics which is this abstract nonsense, garbled language that I use that I say “baby” because babies have these emotions, I think they know what they want to say but they don’t know how to say it and I think it’s really similar to how I write: I know what I want to say but I don’t know how to say it at that point so I have this tonal musical speak—I sing it and later I adapt the lyrics to that and somehow it comes out how I wanted it. So I have to trust my subconscious a lot that it will come out as something meaningful or not meaningless anyway. Musically, then I take it into the studio and dress it up with my strange electronic production and I spend a lot of time playing instruments, and programming and mixing and generally deconstructing the sound and trying to take the traditional songs and make them into something I don’t hear anywhere.

What’s next for you? What do you want to achieve in the upcoming years?
I would like to continue making music. I would like to make some films, I think that would be nice. Maybe do some music for some films. I would like to I guess reach some more people with this music because I know there’s a lot of people out there who haven’t had a chance to hear it and would maybe like to hear it. I’d like to be an architect, that’s something I’d really like to do and produce more bands. Just be very productive, I think that’s the main thing I’d like to continue doing, just being productive and keep traveling as well.

Where have been your favorite places to travel?
God, there are many. Wow. I mean the states is always an interesting mindfuck. When I come here it’s like I’ve just been thrown into the deep-end and I’m quite grounded in my European scheme of things and then I go into a 7-11 and find huge cups and I’m always really freaked out by the size of things here but then I get into the nature of things. Like driving through the countryside is incredible. It’s just everything here, you have so much bad stuff and so much good stuff; it’s consumer choice, I guess. It’s an amazing place but it scares me a bit, I have to say. But, I’ll tell you what, compared to the European crowds, the Americans are a bit more giving actually than I would have expected. I don’t know why, I think maybe they’re hungry for something. And in terms of being really relaxed, I think I like Lisbon in Portugal, that’s a really beautiful place. Granada in Spain is really nice. Berlin is great in the summer, it’s a really beautiful place. So many places: Tokyo. I spent a lot of time in Tokyo, that was good fun, producing bands. Too, too many places. The world is a wonderful place.

What’s been the craziest tour experience?
Well there’s always the boring rock and roll stories. I don’t know if they’re really that interesting anymore. Losing stuff is not good. Losing instruments and having to rebuild a stage from nothing. Getting really sick is bad, I’ve done that a few times when I couldn’t wake up and couldn’t sing and it’s a really important show and somehow your body just drags you through it. Getting stopped by US officials. I mean there are so many little things. Actually the last tour we came on, I managed to get really, really sick and I just couldn’t continue doing shows. For the first time ever I had this incredible fever and we were on a tour bus and it was after the show and I hadn’t eaten anything—that was kind of stupid. I got into bed and I started freaking out and shaking uncontrollably, it was a really weird feeling, I don’t know if you’ve ever had that. So I was taken to the hospital, I was on a drip the whole night, pumped full of antibiotics and whatever, so completely doped up. Got on the tour bus, went to the next show, driving to the show and the tour bus goes off the side of the road completely, we’re all thrown out of our bunks, everybody’s screaming, “Oh my God.” I’m still completely doped up, you know, and they drag me out of the bus, I’m on the side of the highway like this, drooling. And yeah, we go to the show and somehow, somehow I manage to do the show. The show must go on. And that was a bit of a freaky thing. We all could have died. Janine came flying out of the top bunk. I still have this vision of her screaming and just falling to the floor. Reza was in the front, my manager, he went right into the window. So yeah, it can be quite exciting being on tour sometimes. Flying a lot is also quite scary. Some bumpy flights, thunder storms, not good.

What are your thoughts on collaboration?
Is that a trick question, are you expecting something?

No, well you’ve collaborated in the past but this is a solo project…
It is and I’ve become quite strong about not doing that much. I’m trying to be quite…I guess I’m a bit of a control freak in the end and I’m also quite shy. I like to work alone very much and, if I do work with somebody, I have to really know them, or I have to really trust them or really respect them. So it does happen. It happened on the new record with Imogen Heap. I did a track with her…a duet, which I thought worked really well. But that happened quite naturally, there was nothing forced about that. It wasn’t planned by a company. I just had this odd idea, this concept, I talked to her about it and she was really into it and she just added her vocals and it worked well. Generally I don’t collaborate, I don’t want to collaborate that much anymore because it causes a lot of problems for me and them but it depends on the person.

@темы: interview

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ИНТЕРВЬЮ Chris Corner on Album Leaks, Art and A History of the Mind

[KOWA keeper]

берем словарик и кликаем сюда букав много

blogs.laweekly.com/westcoastsound/interviews/iamxs-chris-corner-on-album-le/

IAMX's Chris Corner on Album Leaks, Art and A History of the Mind
Friday, Jun. 12 2009 @ 7:20AM
By Liz Ohanesian in Interviews

In a few short years, IAMX, the dark, electronic pop project of Sneaker Pimps co-founder Chris Corner, has developed an intense cult following. Back in 2007, his shows at Safari Sam's sold out with little in the way of major press. At LA nightclubs, selectors like DJ Xian regularly spin such tunes as "Song of Imaginary Beings," "Your Joy is My Low," and "The Great Shipwreck of Life." With IAMX, it's a contained buzz centralized amongst a crowd who were perhaps goths at some point, who became enamored with electro earlier this decade when artists like Miss Kittin and Ladytron were all the rage and began looking towards Berlin, where IAMX is based, as a spiritual sister of Los Angeles.

It's not just the LA club crowd who has become smitten with IAMX. Corner's project, which he says is more influenced by the architecture of Bauhaus and Richard Neutra than music itself, has swept through digitally сonnected underground scenes across the globe. While this has been integral to IAMX's success, Corner felt the drawback of the digital world when his latest album, Kingdom of Welcome Addiction, leaked earlier this year. In response, he issued a letter that closed with the simple request, "If you care, then do everything in your power to help us continue making it."
How did you find out about the leak?

My manager told me because he's always online. I think he has сonnections with some of the fans and it was pretty obvious that it had gotten out. I hated even giving it out. It's not that I'm against downloading. That would be stupid. I think in this case, it was more the lack of respect. We had given it to important journalists. Some journalists got a snippet, a small part. The important journalists got the full link. One of these guys put it online.
I think what it showed to me was the discussion that needs to be had about what the value of music and art is now in this culture of downloading. I have to talk to the audience and they have to talk to me about what they think they should get and what I think they should get. Just taking it, it's not going to help us survive as an independent artist.

What do you think the audience should get?

I think they need to understand, I will continue to make music, but I might not be able to reach people in the way I would want to reach or to present myself the way I want to present myself for people to get the real feeling of what it's about. It's just a very dangerous.

I can only talk about myself. I don't want to say about other artists. I think there are some people who deserve to be ripped off, some people really don't. The problem is that if you create this McDonald's style culture, devaluating everything, people grow up in a culture of taking. They're not conscious of what they are taking. It's not their fault, it's just how it is happening. The only way I can see it is by having a direct interaction between me and the fans. That's how it's working anyway with IAMX. We're trying to cut out all of the industry bullshit. They don't really give a fuck about us anyway, they just want to make money. I'm not into being rich and famous anyway. I think people can see that in the kind of music that I make, it's just not that kind of music. It's more about somehow engaging them, bringing them in and trying to get them to support the project in different ways. If they don't want to support it in that way, then they can support it in a different way.

One of the things that's of concern is that if you're an artist and putting something out, you're intending people to see it a certain way and if it leaks, it's not really complete.

That was the biggest disappointment. We didn't have the chance to put everything on the table. We had all of these different things prepared, a few remixes, created this website just to give an extra dimension to this project, to the music that they're buying. When you get this kind of skinny little shitty MP3 from the Internet, it doesn't have the weight, the flesh, of the project as a whole. That's one angle. On the other angle, many people get to hear it that wouldn't have been able to hear it. We're just going to have to find a way to work together. I'm not going to preach anymore because nobody has a solution. We just have to talk.
Is there a philosophy that inspires what you do?

I don't want to get to into that because if you start to tell people your mental influences, it can turn people off, or on. I'm open to everything. There are certain things that I don't like in the world. Religion is one. Politics is another. They're all part of the same beast. I don't have a utopia. My way of dealing this is to create something like IAMX and keep running, to have my own little world.

I think what I'm trying to do with this album is to maybe create my own little philosophy, some manifesto of living. Maybe I'll publish that some time when it's clearer.

What was the last book you read?

A fabulous book by Nicholas Humphrey. It's called A History of the Mind. It's a very in-depth study of psychology, myth, biology of why we think certain ways, how we develop that, how we can change things, how we can learn a lot from what's already there.

Did it impact what you're doing now?

I think it did. Books like that inspire me to think about other things. I think the misconception is that IAMX is all music. It's not. I'm interested in many other things that have nothing to do with music. I just happen to be quite good at doing music. It's my tool to get to these other places and somehow bring these things into the music as well, maybe more philosophical or thoughtful things. I think it does inspire what I do. I'm more inspired by things like that than other music. I don't really listen to music that much. I listen to classical music in my spare time because it's from a different world. It doesn't suffocate me in terms of my production brain. I'm not constantly thinking about bass drums or snare drums. It's just something out there, melodic and pleasurable that I can enjoy. Things like that, classical music, architecture, philosophy, I want to bring and do in small ways bring it into my music. I like to combine it into one package.

IAMX plays EL Rey tonight. He'll be joined by Hypernova and DJ Xian. "Think of England," from Kingdom of Welcome Addiction, is available as a free download through IAMX's site.

@музыка: rain to sea

@темы: interview

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Смеемся / старое вью

[KOWA keeper]

предлагаю вашему вниманию интервью 2006 года Криса Корнера на радио Максимум России. Я смеялась очень качественно. Рекомендую =) (скачать архивчиком надо)
narod.ru/disk/9416270000/Korner%20on%20Maximum....

Выдержки из диалогов

- какое первое впечатление по приезду?
- oh its cold its dirty its sexy
- дьорти?! где ж дьорти? чистота одна! snow! сноу ол евривер! ноу дьорти!

-I have a lot of friends pacistanian
-ай лайк пакистан виски!
-ggg, you're freak! where did you get this from?

-кам ту раша спик ин раша
- give me some to say
- КАЛБАСА
-KALBASA
-калбаса харашо!
-khalbasa khаrasho!!
-е, вери гуд
-what does it mean, c'mon tell me
-сосиджис из гуд
-ouhhmmm, I' m vegetarian.

ну и еще 20 минут загонов про секс, геев и проч )))

@настроение: ха-ха-ха

@темы: media stuff, interview

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RAIN TO SEA (hiden track)

[KOWA keeper]

песня спрятана на новом сайте и найдена умными людьми =) выложена бессовестным индивидом
Может я дождусь, и мистер Корнер выпустит диск с прекрасной инструментальной музыкой.
НАСЛАЖДАЙТЕСЬ

@темы: media stuff, Rain To Sea, news, MP3

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TEAR GARDEN (обновлено)

[KOWA keeper]

почему всего один куплет, я не знаю. Но это не мешает мне визжать от восторга смотря на прыгающего Корнера в красных носках ^___^ они все такие милые и смешные )))

смотреть тут кусочег

ОБНОВКА: полный вариант!

а тут акустический коридорный вариан

@темы: media stuff, tear garden video

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CHRIS CORNER führt durch YAGALOO

[KOWA keeper]

интервью для YAGALOO
во всей красе =)

@темы: media stuff, interview

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КЛИП О АНГЛИИ

[KOWA keeper]

НУ-С ПЕРВЫЙ ПРОБНЫЙ.
ПРЕДЛАГАЮ ВАМ, МИЛЫЕ УЧАСТНИКИ, ПРОСМОРЕТЬ сторпроцентно виденный большенством КЛИП О ТЯЖЕЛОЙ ЖИЗНИ АНГЛИЦКИХ ОККУПАНТОВ =)))
А ЕСЛИ СЕРЬЕЗНО ТО ЭТО ЛУЧШИЙ ЛИВ-ВИДЕО-КЛИП КОТОРИЙ Я ВИДЕЛА

ПРОШУ ЗА МНОЙ

И СОБСНО КАК ВАМ ДИЗАЙН?

@темы: IMHO, media stuff

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ЗДРАВСТВУЙТЕ!!!

[KOWA keeper]

Хочу всех поприветсвовать!!!
Теперь сообщество буду вести я =) ( не мала баба клопоту) желающие присоедениться есть?
принимаю пожелания что бы вам было интересно тут видеть читать ипроч проч проч.

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[принцесс]

Отдам сообщество в хорошие руки!

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епт, я думала он мертв

[Mardj]

это я оп сообществе, оказывается пульс прошупывется , с чем вас и поздравляю )))
Предлагаю вам интервью Мистера Икс свеженькое относительно

Interview with Chris Corner of IAMX
by hardrockchick [about 9 days ago.]

I’ve been a fan of Chris Corner and IAMX for a long time. He writes great lyrics, and puts on amazing live performances.

Below is my interview with Chris regarding his latest album and his upcoming US tour.

iamx

HardRockChick: What was the creative impetus behind ‘Kingdom of Welcome Addiction’? What mood were you in when you wrote it? Is there a message?

“This record is particularly about the escape from the things that people accept and the rules they live by.”

Chris Corner: There is always a subconscious message. I am at a point where being in the mess of the world concerns me.

There is so much noise and junk floating around. We are so underdeveloped mentally and un-evolved that this kind of input can only be destructive. This record is particularly about the escape from the things that people accept and the rules they live by. Every move with IAMX is a reflection of an alternative way to exist. Feeling like this puts me into a very emotional place. I would say that I am always deeply moved when I am working.

Even if am using black humour or writing about sex or power I still feel brittle. It is difficult to put into words. I decided again to lock myself away and create. I find it a scary but cathartic way to work. Solitary and monk-like.

Kingdom of Welcome Addiction was no exception.

HRC: I read that you put together a new studio for this album. How did it turn out?

CC: Something I have fantasized about for years is bringing together a group of people that work for some artistic higher purpose. Something like the Bauhaus movement that came out of Dessau in the early 20th century, but a little less structured. So many things concern me about the world. I want to find people to get involved. Being part of driven, independent concepts, art pieces, films, music. A collection of bright and open minds.

I now occupy an old GDR water factory just outside Berlin. I already have two artists working there and this where I have set up my new studio space. It is rough but functioning. I think somehow I get off on the chaos of it and also the fact that I look into nature when I work.

If I ever have lots of money and some spare time, I will put some more heart and soul into the space.

HRC: How did the collaboration with Imogen Heap come about?

CC: She was an acquaintance from my days in London who became a friend and is really enthusiastic about IAMX. She turned up to the live performances when we played in England and I think we both knew something would come to fruition in the future.

Even though I am usually shy with collaboration, I always wanted to do a duet. It has so far eluded me.

I wrote the song ‘My Secret Friend’ at the very end of the recording process and it felt like it was lacking something. I then developed it a little with the idea of a duet in mind. I put together a rough demo and sent it to her. She said yes to getting involved, added her lovely parts and vocals and we threw the track back and forward over email for a week. She was so pro and quick I was really impressed. Beautiful vocals and harmonies.

When I wrote it, I imagined some kind of psychotic brother/sister relationship, perhaps romantic, dependent, incestuous. I imagine her as the boy and me as the girl.

HRC: How will the album come alive on this tour? Who is part of the live band?

CC: The integration of the new tracks is a little harder this time due to their more melodic relaxed orchestrated nature. But, I have developed them to fit in with the aggressive live set. A little heavier and more electronic.

It will be the same line up in the band: Janine on backing vocals, keyboards and bass, Dean on guitar, bass and backing vocals and Tom hitting things hard in the background. We seem to have a good thing going and I want to nurture that.

It is very easy to destroy bands with the ego disease and being socially retarded. This is a tight knit, quiet and calm bunch of people. We need to be like that to conserve the energy for the stage performances.

HRC: Will the tour be mostly new material, or will we get to hear some of our old favorites?

“It is not just a blazing inferno of flesh and rage. It has more dynamic. Light and dark.”

CC: It will be a mixture. Some of the old material is completely different live and it is a lot of fun for us to play them. We enjoy the spontaneity of all the tracks. When you know them so well, like the old ones, you can also let go a bit more. The new tracks are still forming and we have to concentrate. But the balance is nice at the moment as it adds another dimension. It is not just a blazing inferno of flesh and rage. It has more dynamic. Light and dark.

HRC: Should we expect another strong visual element for this tour? Costumes? Video backdrops?

“It is so disappointing when I go to gigs or music events and there is such a lack of hope and inspiration.”

CC: Always. I am a big lover of theatre, film, music and art. Somehow I see IAMX in the middle of all those. I feel best when I am experimenting with all the forms. Painting a bigger picture. There is so much beauty to be explored.

I shoot and edit the visuals for the live shows. Adding vision to sound is such a powerful tool to bring another level of meaning to the music. It is amazing how they work so well together.

It is so disappointing when I go to gigs or music events and there is such a lack of hope and inspiration. I want to live my life with veracity and colour and intensity. To paint my face and wear costumes, to scream and cry and shout and shit and sweat and fuck and think and love. Life is a game and we have amazing eyes to see. Why the fuck not?

HRC: How on earth do you present such a high energy performance and keep your vocals intact?

CC: I bring the most important of my possessions along with me: the nose shower.

I guess I am in someway trained enough to know how to control my voice. At least to know the things I can’t do, but the thing that affects the throat and develops the infections is the dirt and germs. I suck in a whole room full of germs every night so it is really essential that I clean it out before I go to bed.

It is a constant battle to keep on top of it, because often I get drunk or have a fabulous show and forget myself. Actually that is when I push it too hard as I am so hypnotized.

That is when it catches you out.

HRC: I’ve read that IAMX is your alternate identity, yet the lyrics always seem very personal. How does this work?

“The character you see is an exaggeration of the real person - a mutant version but real.”

CC: A playwright can write from self-experience and give across a very personal message through actors. Look at a writer like Dennis Potter and you see that his plays are totally autobiographical. It is not quite the same thing but it is still relevant expressing through others.

IAMX is definitely not “as constructed.” It is more of an attitude to life. The character you see is an exaggeration of the real person - a mutant version but real. I think in some way that is what audiences respond to. They can see what I mean, even if I dress up and play the rabid neurotic Peter Pan. I do sometimes look at the person I am on stage and in pictures and feel distant, but that is very normal for any human struggling with the past, present, future and, sometimes, the disconnected blank feeling of being alive.

HRC: You always have your hands in lots of things- what can we expect to see from you in the near future? I’ve heard that you’re interested in film.

CC: Actually just before answering this interview I saw an online piece which showed a little live IAMX footage and I sang like a dying dog! Therefore I have decided to give up and start making films! But, seriously, my intention is to make a small film next year with a small budget. One actor one location. Based on the poetry of Hesse and Brecht.

In the meantime, I am experimenting with the IAMX online activity and developing a website. I need lots of content, so I am constantly doing remixes and alternative versions of the new tracks plus writing B-sides. All will be revealed throughout the year as we promote the new album.
источнег www.hardrockchick.com/2009/05/14/interview-with...

и кстати новый сайт это просто ааааахххххххх!!!
www.wix.com/3IAMX3/KINGDOMWIX
загадочные квест-лабиринты с подсказками и без
кликай и ты найдешь новое и прекрасное
COME INTO ME
это типа войти или кончить 0.о

@темы: intvew, news

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[Nothing_well]

вы живы? кто едет на концерт 22 в финку?

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Greetings

[der Westen]

Гмм... в честь вступления в не очень активное сообщество решил запостить две песни из нового альбома. С названиями фигня, правда.
Первое - Think of England

Второе - I'm the Conversation.

Еще, должен признаться, меня радует то, что альбом, судя по всему, получится больше похожим на The Alternative. <3

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Я к вам)

[Mardj]

Есть кто живой?
Для первого раза сообщу что новый альбом Kingdom of Welcome Addiction готовится к выходу 19 мая))))) ЖДЕМ-С!!!! /я лично так умираю от нетерпения)/
Вот хорошее интервью Криса Корнера по поводу новой студийки, Track by Track
Enjoy: www.postwave.gr/index.php?option=com_content&ta...

@музыка: american wedding Gogol Bordello

@настроение: тааа-тарам-тарам-та-та))))

@темы: Chris Corner, I am terrified, interview, IAMX, new album