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 Post subject: Re: CHVRCHES
PostPosted: Fri July 01, 2016 10:35 pm 
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 Post subject: Re: CHVRCHES
PostPosted: Mon July 11, 2016 5:14 pm 
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 Post subject: Re: CHVRCHES
PostPosted: Sat July 16, 2016 6:54 pm 
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Eddie Vedder pretending to sing a Spice Girls song

https://www.instagram.com/p/BGeplEzOSoM ... erry&hl=en


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 Post subject: Re: CHVRCHES
PostPosted: Fri October 07, 2016 3:48 pm 
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 Post subject: Re: CHVRCHES
PostPosted: Sat December 24, 2016 11:03 pm 
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 Post subject: Re: CHVRCHES
PostPosted: Sun May 14, 2017 7:59 pm 
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 Post subject: Re: CHVRCHES
PostPosted: Wed January 31, 2018 11:04 pm 
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:heartbeat:


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 Post subject: Re: CHVRCHES
PostPosted: Sat February 03, 2018 11:20 pm 
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“Get Out” is really let down by its awful chorus.


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 Post subject: Re: CHVRCHES
PostPosted: Thu March 01, 2018 1:46 am 
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 Post subject: Re: CHVRCHES
PostPosted: Thu March 01, 2018 2:40 am 
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 Post subject: Re: CHVRCHES
PostPosted: Sat March 03, 2018 2:47 pm 
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oh, thats a good one

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 Post subject: Re: CHVRCHES
PostPosted: Mon March 05, 2018 9:37 pm 
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Chvrches On the Frustrations That Inspired Their Outspoken New Album
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PITCH
by Noah Yoo
Staff Writer

For musicians who make such massive anthems, Chvrches are incredibly unassuming. The week before they’re set to announce their third album, the Scottish trio of Lauren Mayberry, Martin Doherty, and Iain Cook shuffle into a Brooklyn coffee shop, shake off a little rain, and quietly say hello. Keep in mind, the album they are here to discuss is called, quite dramatically, Love Is Dead.

“In our minds, there’s a question mark or an ellipses at the end of the title,” Mayberry says. “The whole record isn’t completely depressing—it’s more about sitting with certain kinds of melancholy and wondering what you do about that. It’s about frustration, but figuring out a way to be able to feel like that and move on.”

Love Is Dead expands on the immaculate, synth-driven pop of their previous albums, and finds Mayberry singing her lyrics more directly than ever before. Speaking out about sexism has never been an arena where Mayberry has been shy, though the reception to callouts of crossed boundaries has changed in recent times. We discussed this, working out the insanities of the world in songs, and getting through nightmare sessions with a particularly famous producer who shall remain nameless.

Pitchfork: The album strikes me as your most accessible, but also most politically outspoken. How intentional was that?
Lauren Mayberry: I was conscious of wanting to be more honest in the way that I was writing. Not that the other records weren’t personal, but there was a lot more stuff that was buried in metaphor. At the end of the day I thought, “Why are we doing what we’re doing?” When I’m writing, it’s because I’m trying to figure something out for myself. If I don’t believe in what I’ve written, then how can I expect anyone else to believe in that either?

Iain Cook: In this time, people need to be saying what’s on their minds directly without any abstraction.

LM: We’re living in a really weird, conflicted time. I think it will feel jarring and strange if we look back at this era and see that some people were just making vacuous records to feed a two-year album release cycle. Not that we necessarily made an overtly political record, but I think it’s honest. A lot of it’s about grappling with what’s going on in the world, but also what happens in your lives simultaneously.

Lauren, you’ve been outspoken against misogyny and harassment long before the #MeToo movement. Have you noticed any differences in the last few months in how women in the music industry are treated or discussed?
LM: It’s great that people are speaking up, but I want to see what happens in the next couple of years–if people actually put their money where their mouth is. So many people are being fully genuine about it, but there are some people who are definitely using it as a way of finding some kind of branding niche and that’s kind of fucked up.

Ultimately, that will bring the message toward a more mainstream audience and that will change the way that people think in the future. We have to hope that symbolic gestures like wearing white roses on red carpets will translate into actual action. Will the Grammys actually look around the room, at the people and companies they represent and how they treat people? I don’t know. It has to be more than lip service. Otherwise, we’re just going to end up in the same situation.

Maybe it will make my job easier. There’s definitely a lot of praise being given out for behavior that five years ago was getting me called a horrendous cunt. Maybe you won’t get called a horrendous bitch anymore for speaking out. I do think that’s progress.

There were definitely times on the last couple records where I thought, “There’s a certain point in time where I think I’ll get tired of doing this.” Not playing in this band or saying those things, but being the person that has to say that obvious thing and then has to take the kicking. That takes a toll because you’re still a person. You’re a performer, but you’re still a person.

You wrote and recorded your first two albums (2013’s The Bones of What You Believe and 2015’s Every Open Eye) by yourselves. Why did you decide this time around to work with Greg Kurstin (Adele, Sia), who produced 8 of the 12 tracks?
IC: The natural thing to do is to want to protect something, the dynamic that we had. To answer your question in one word, what was different about working with Greg? It was chemistry. From the very moment we got in the room with this guy, he fired up an old keyboard and started playing the opening riff to “Get Out” and we were just like, “Shit, this is unbelievable.” Then the melodies start coming, and it felt like it did when it was just the three of us in Glasgow in our basement studio. That’s the first time—and maybe the only time—we’ll ever feel like that with a third party.

LM: One of my favorite memories of this whole last year is when we had a not-great session with this one producer…

[Doherty and Cook immediately begin laughing and shaking their heads]

Martin Doherty: They’re really famous.

How famous?
LM: Very famous. You’ve heard a lot of records that they’ve made. Iain and Martin were in on the ground floor with the making of the track, but I was sitting on the couch watching the body language and seeing how badly this was going—and seeing that the person producing had no idea how badly this was going and just didn’t seem to give a shit.

We went home after the last day, got Mexican takeout and beers, and watched the [Metallica documentary] Some Kind of Monster under blankets on the couch. We talked about how terrible it had been and decided that we don’t ever want to go back into that room, ever again.

MD: I think it was after the second day, we came home and I was really depressed. And as a reaction to that session I was like, “Fuck this.” I got my laptop and we wrote “My Enemy” that night.

That song features Matt Berninger of the National, though it was written entirely by you all.
MD: We realized pretty quickly it would lend itself well to the duality of two points of view, once Lauren had come in with the lyric. But when my voice was on the verse, it felt somehow wrong to me. I thought we could make this into something special with someone like Matt, who can sell stories so purely, who sings one word and I’m there. The first time I ever heard “Fake Empire” from Boxer, I will never fucking forget that.

LM: I can’t even say hearing Matt sing lyrics I wrote is a bucket list moment because I didn’t even have a bucket list where that was conceivably fucking possible.

IC: You have to get new buckets.

LM: I remember I graduated from uni and couldn’t get a fucking job, as is the story that people have. I was working freelance and also in a café, and we would have to have the café playlist on all day. But then at 6 o’clock when we shut the doors, my friend and I who worked there, we’d put on Boxer and sweep up. It’s kind of weird to think back on that and be like, “Eight-ish years from now, he’ll sing on a record with you guys.”

The album features a song titled “God’s Plan.” Did you know about the Drake song when you wrote it?
LM: No, that was such a kick in the stones.

MD: Do you know how fucking sad I was when that song dropped? We named and wrote that song—when did we write that? Nine months ago?

LM: We sent the album away and the next day—

MD: He dropped that song the next day and we were like, “Fuck.”

LM: What a great song title. And we’re like, “Shit. Drake got it.”

MD: I’m certainly not in the business of criticizing that song. I think he’s amazing. It was just too late, we couldn’t change it. And I didn’t really want to change it. We called it that because that’s what it was supposed to be called. It's funny because I think there's so few good song titles left. It seems like every other week there's another song out that has the same name as something else...

Lyrically, “Graves” strikes me as the most serious song on the record. You sing, “They’re leaving bodies in stairwells/And washing up on the shore…”
LM: The verses of “Graves” came very quickly. But to me, that is probably the most conflicted song on the record. The main stimulus was seeing people with power choose to not reference things and never be held accountable because it’s not relevant to them. The only reason you can say those things is because you’re so fucking privileged that you don’t need to worry about it.

I watched the CNN thing last night with the kids who survived the school shooting in Florida. The fact that 15, 16-year-old kids are more responsible and aware than people who have positions of influence is so inspiring and so amazing, but also fucking crazy. The children literally are our future, and those children gave Marco Rubio what the fuck he deserved.

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 Post subject: Re: CHVRCHES
PostPosted: Thu March 15, 2018 10:09 pm 
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 Post subject: Re: CHVRCHES
PostPosted: Fri March 23, 2018 11:57 pm 
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Pretty sure I"m in love with Lauren.

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 Post subject: Re: CHVRCHES
PostPosted: Thu March 29, 2018 4:12 am 
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 Post subject: Re: CHVRCHES
PostPosted: Thu March 29, 2018 12:07 pm 
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I'm not sure.

I like it, but they seem to be struggling with choruses now.


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 Post subject: Re: CHVRCHES
PostPosted: Fri April 06, 2018 5:24 pm 
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 Post subject: Re: CHVRCHES
PostPosted: Wed April 11, 2018 2:51 am 
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 Post subject: Re: CHVRCHES
PostPosted: Fri April 13, 2018 7:17 am 
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dude has to press a lot of buttons.



that voice tho...cuts through anything...

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 Post subject: Re: CHVRCHES
PostPosted: Wed April 25, 2018 1:24 pm 
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Wow, Miracle is downright awful.


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