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Wednesday, November 04, 2009
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Category: Music
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Friday, October 30, 2009
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In 1987 a 15 year old version of myself screamed his lungs as Michael Jackson sizzled and popped his way, seemingly on thin air, accross the floor of the Brisbane Entertainment Centre. He wore a shiny silver stage costume with black buckles on the shoulder and I swear I was so close I can still remember his perfume.  It's 22 years later and today I woke up and dubbed it 'Michael Jackson Day'. I'd booked tickets to go see his 'This Is It' movie and visit the exhibition of his costumes and memorabilia at the 02 Arena in London. I had mixed feelings about the film prior to going in. I'd heard all the hype from the advertising machine and I'd heard the conspiracy theories from those who felt the film was cashing in. But somewhere in the middle I guess the chance to see my childhood hero on the big screen and on the precipice of a triumphant return was the feeling that trumped them all. Truth be told, even when tickets went on sale for the original concert that never was to be, I was skeptical. I'd seen M.J live many times, but the last time was in NYC in 2001 and he was clearly struggling. I didn't blame him - what was left after the trials and tribulations of the child abuse accusations was a frail man, unsure of himself and gun shy in a spot light of humiliation and degradation. He seemed as though his spirit had been broken, that he'd become overwhelmed by the vultures and the fame monster. That was a few days before September 11 2001. I remember the show so clearly, not only because of its proximity to such a tragic date in history - but because I had seen my hero fall to the ground. After the concert I had the overwhelming feeling that something was wrong, and I changed my plans dramatically to leave NYC earlier than planned. I was supposed to come home on September 11 (on a flight that would eventually, sadly, perish) and instead I chose to come home a few days earlier. When I woke up on September 11 the world would never be the same. For Michael Jackson, I guess this was true in a way none of us could have imagined back then. Fast forward to recent times, and Michael had survived round 2 of scandal and accusation. Only this time, perhaps only barely. We all know the story so I don't have to repeat it here. But the memory is one of a man on the run. From us. From Them. From himself. Less than half the man he used to be, seemingly stripped of his accolades and certainly his dignity. Let me back it up by saying, M.J is and was my hero growing up. I didn't have a positive male role model in my life - and when I was teased at school for being a 'faggot' or 'queer' I looked up to this man who seemed to be both male and female to me. Strength and sensitivity. Subtlety and electric shock force in one. And when the world called him strange, I just saw myself reflected back. I saw a spirit that could not be broken. When I first saw him in concert, I think I've mentioned before, I suddenly knew what I wanted to do for the rest of my life. This feeling was the polar opposite of how I'd felt in New York in 2001. So the idea of seeing M.J on stage again in 2009 - in a show that many suggested was a 'have to' instead of a 'want to' situation - I wasn't eager to bear witness. Not because I didn't love Michael or appreciate his talent. I think it's because (and I'm ashamed to admit) I didn't really really think he could pull it off. And I wanted to remember Michael as the hero who inspired me. And not as the man the world turned him in to. 2 months before the 'This Is It' tour was due to open I got into a major Michael phase. I was ravenous about the 'Bad' tour (the first one I ever saw) and his costumes back then. Especially that silver shirt. I began frantically seraching for rare concert footage and listening to his albums daily. So much so that my other half thought I was losing it. At the last minute, like most people, I bought a golden ticket to his show. And a few weeks later, Michael had died. Tonight, I've seen the film which is essentially a document of the rehearsal and almost dress rehearsal of what Michael's farewell performances were going to be. And I was filled with awe and sadness. Awe in the scale, scope and ambition of the stage show. Awe of Michael's spirit and talent - still present even in rehearsal mode. But incredibly sad that he was robbed the opportunity to do these shows that would have reclaimed his dignity once and for all. Like most people, I guess I had underestimated him. If you believe the hype, he was barely present at rehearsals. He was ill (he did seem dramatically under weight) and 'out of it'. But what I saw, was a 50 year old man remembering his magic. I saw glimpses of brilliance and the possibility of a reclamation of respect from his peers and critics alike. Walking through the halls of memorabilia afterwards, I found myself again filled with sadness and gratitude. So glad that the positive things about him seem to be the ones that linger. So sad that the silver shirt that I had reached out for in hysteria, separated by a crash barrier and layers of security, lasers and fog - was now inches from my hands. Not even behind glass. There. Touchable. Real. I don't know what the lesson in any of this is. I know the shock for me was seeing something so untouchable, so superhuman, appear to tangiable and, dare I say it, mortal. But perhaps the biggest thought I'm left with is the need to appreciate things in the moment - and celebrate the blessings we're given when we have them. Becuase as I watched the film the thought that kept playing over in my head was 'if only we had him for a little while longer. If only more people could have seen this'. But that's the thing with 'if only'....
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Wednesday, October 28, 2009
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Macmillan are a fantastic charity that work tirelessly with families and those battling cancer to provide care, support and dignity to all affected. They have launched a celebrity shoe auction and I have provided a pair of my own shoes, autographed, to help raise money for this worthwhile charity.
Other donations include autographed shoes from Kylie Minogue, Cindy Crawford, Kevin Spacey, Simon Le Bon and Rod Stewart to name a few.
If your'e interested in checking it out or visiting the site for more info the charity site is
Thanks for your time!
xxD
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Friday, October 16, 2009
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Current mood:disgusted
I'm disturbed greatly by the thinly veiled homophobic tone of this piece. It is as ignorant to suggest that all civil partnerships are open relationship as it would be to suggest all heterosexual couples are monogamous. A Civil Partnership is the legal recognition of two consenting adults and affords the same civil rights as a 'traditional' marriage. It has nothing to do with what goes on in the bedroom.
Read the article in question here and please register and voice your concern if you agree the article uses hate language and is homphobic. The article breaches 1, 3, 5 and 12 of the code of practices.
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Wednesday, September 30, 2009
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Category: Music
Originally written on 18 July 2009 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.comSo much has happened since the last time I blogged I don’t quite know
what to fill you in on. You see I try to be more cryptic with twitter
and myspace. So although I’ve been filling you in on tid bits I
haven’t really being entirely honest. Hehe. Where do I start? Well,
once again, this album is being recorded in a very different manner in
which my last one was. I’d say it’s more like ‘The Tension and The
Spark’ in it’s execution in that there really aren’t demos as such as
rough versions that continue to be worked on.
Last album, I really wasn’t sure of the sound until I’d written ‘How To
Build A Time Machine’ and then I went back on the many songs I had
written as demos and transformed them in the studio mostly with Shave.
This time, I’ve been sure of the direction from the start – and have
been delegating my time in the studio to either ‘my’ album or
‘others’. Occasionally a song I have written for someone else ends up
becoming ‘mine’ (mwhahahah) probably by a case of self sabotage more
than anything else. I write a song at the request of a label or for
the intention of submitting it to an artist but fall in love with it in
the process and then cross my fingers hoping it won’t get selected. A
few times that has happened I can look back and see ‘wow – I was really
writing that for me!’.
Specifically one of my favorite songs so far in the pile for
consideration for my record is one written with the Swedish
songwriter. The minute we wrote it I felt a bit of sadness because I
felt I’d stumbled upon the sound of my new direction and yet we had
agreed to give it away. The short story is that it was eventually not
chosen to be recorded by the BIG RECORD COMPANY ARTIST and I got my
greedy hands back on it. But either way, that song inspired the sound
that would continue on many more songs I’ve ear marked as possibilities
for my record.
How am I choosing? Simply based on the theme and visual landscape I’ve
had in my head all along. I’ve mentioned before I’ve had a working
title and a ton of images and writing on my laptop for a year now. So
that helps me zero in on the character of the songs. Occasionally my
two worlds collide but in general I’m able to tell immediately if a
song is more ‘me’ than someone else and I work accordingly.
So there’s been more writing with the Swedes. Nothing I’d put on my
record yet. But I worked with Brian West of Track and Field fame
(google it) and wrote a song I’ll code name ‘E’ which was instantly a
keeper for me. We worked in the Sony ATV building in the West End for
a few days and it was so fun to pop out into Golden Square and grab a
coffee and walk about soaking in the energy of London and then zip back
upstairs to a private studio and create some magic.
More recently Robert Conley came back to London for the second trip to my studio to work on songs for the album.
We had a brilliant strike rate this trip. We wrote a song I’ll code
name ‘W’ and it’s a killer. Big drums and frenetic sound. Lots of
energy and exactly what I think has been missing from the songs. Then
we wrote a heartbreaker if I say so myself. I’ll code name it ‘L’. I
think it’s ‘that’ song on the record that many people can relate to.
It’s quite sad but universally so and came from a very raw place. I
said to Richard tonight that I was glad I had a home for such emotions
because they are heavy to hold on to without support. Fingers crossed
it makes it on the album.
Next week Justin Shave arrives to do 2 weeks here – really just
polishing up and transforming some songs I’ve ear marked and hopefully
writing some more.
In the mean time, here’s some outside of the studio ramblings. I’ve
been cooking so much this year. Richard has been quite busy with music
videos. He just did a new one for a little indie band and it was 3
weeks of post. So I was cooking virtually every night and loving it.
For those who don’t believe I can make my way around a BBQ I took a pic
of my skills at a party recently. Also there’s a shot of my mic stand
and vocal set up in the attic studio. What else is there? Oh a pic of
me staring at the camera in the Sony ATV studio kitchen when I was
working with Brian West. And finally a picture of my biggest fan who
was giving me love eyes from the couch hoping I’d take him for a walk.
I’ll write a new blog when Justin is here. In the meantime join up to
U Stream. I’m thinking of posting some vids of my time with Justin if
I can get my shiz together in time. I just registered an account and
it’s http://www.ustream.tv/DarrenHayes
I’ll give plenty of notice when I’m going to jump on.. but thought you should know soon!
Big love
D

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Friday, September 18, 2009
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I had a question posed to me on the forum over at my fanclub @ darrenhayes.com and I thought I'd post it and my response here. Exciting times!
ALEX'S QUESTION.. --------------
Thanks for the 3rd blog Darren, brilliant as usual.
Just wanted to pick up on (well, it got me thinking) your chat regarding meeting Walter A and have preconceptions about revisiting 'the hallowed turf' (if that's the correct expression) of the past.
Having loved your last album to death (still do and will always do of course!) for me it is your best work to date.
Don't get me wrong, I CAN'T WAIT for your new record to hit my ears - but perhaps, selfishly, I have become so 'into' TDTWM that mentally I'm not ready or phsyched up for your next helping of awesome-ness. I'm finding it difficult to try and disassociate myself from TDTWM and store that album for what it is i.e. a concept record and a piece of work in itself and to move myself onto your next record and take it for what it will be rather than (mentally) expecting a TDTWM: Episode 2. and trying to mentally compare the two albums when they are both dfferent entities in themselves, nor would I want to compare them.
Darren, Do you get the same mental barriers when it comes to breaking away from one album and having to create a new body of work without wanting to recreate the heights of previous material and just putting everything into what the next album will be and shall stand for?
Thanks again Darren for everything!!
Love & Support
Alex.
MY ANSWER ... ___________________
I absolutely love this question.
I am just like you when it comes to how I attach myself to albums by artists I adore. For example - I am a massive U2 fan. But my attachment to their 'Zoo TV' period is such that there is really a holy grail, a trinity if you wil of records that I compare all of their work to. It's 'Achtung Baby, Zooropa and Pop'. After that, I haven't really connected to their work in the same way until perhaps 'No Line on the Horizon'.
It's a blessing and a curse.
As a fan, I was so deeply connected to their experimental phase that I haven't been able to enjoy the subsequent albums as much because I was always mentally saying 'I like that song it reminds me a little bit of 'x' .. or I don't like that song, it sounds nothing like 'x'. And I realise that's probably unfair to a band who want and deserve to grow and change!
So I am acutely aware of the 'curse' if you will - of having made 2 albums 'The Tension and the Spark' and 'Delicate..' which are in a time capsule. My fans who love those albums REALLLLLLY LOVE THEM. And I decided not to cheat them (you) by ever making sequels to them simply because it's what you might prefer. What I've done, all my career, is make what I'm absolutely passionate about at the time.
For a while, it took me a moment to work out how to follow on from the last phase. And I needn't have worried. Because the direction emerged, mostly inspired by my personal life - and suddenly the music was every bit as engaging as anything on the last album in my opinion. But it is a different album. This album is as different to 'Delicate' as Michael Jackson's 'Bad' was to 'Thriller'.
It's as different as 'Like a Prayer' was to 'True Blue' for Madonna. What I'm saying is, I believe this album to be really strong. Not apologetic, not imitating the last one or apologising for not being the same. It's confident and has a personality all of its own.
I've always said, as fans we often ask for more of the same. But we don't really want more of the same. We want to feel as engaged. And hopefully you'll feel that. But if you don't, I understand more than anyone! I'm a fan.
x
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Wednesday, September 16, 2009
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Current mood:concerned
Category: Music
POSTSCRIPT - I would be more than happy to embrace a system whereby an album was seen as 'content' ie there was no ownership per se but that the writer/owner/composer of the material was paid for delivering it.
I've always seen there being two possible systems for the future of music. One, you the consumer purchase internet access. And from that access you are entitled to stream, view, download whatever. But from your fees paid to your internet provider, royalties are paid to artists according to 'airplay' - like PRS if you will. Impossible to police and monitor probably.
The other, more likely option would be if an album was seen as an asset sold just once to a network or a broadband supplier. An artist makes an album, and instead of a traditional record deal or royalties they are paid a 'buy out' price for their work. Like a film company selling their film to a studio who then distribute it. Networks and broadband providers would then make this work they purchased outright from an artist and make it available to their subscribers.
Obviously, like the film business, the owner of the work would also share in profits and any exploitation of the work. The 'buy out' would be a period of exclusivity for example. Beatles music would be expensive to buy. A new artist possibly more affordable. And charts come from how much of an audience a work generates. This data then determines what collateral an artist has for future works.
The downside to this is, of course new artists. Who is going to pay a new artist what it cost and what they deserve? Who is going to give a new artist a shot? The answer is new music will be expected to be given over freely. Lily Allen is still blogging about this issue - check out what she has to say at her blog.
We can't stop 'file sharing' - but I absolutely support the need for a model that pays the people who work hard to entertain us all.
----------------------------------------------------------------------------------------------------If you want evidence that file sharing has destroyed the recorded music industry, look no further than at the disappearance of studios. You'd have to use sophisticated archeologists because many of them don't exist anymore.
The recording studios where I recorded and mixed my last album, 'This Delicate Thing We've Made' have vanished. These were studios where seminal albums by everyone from Coldplay to Tears For Fears. From Kate Bush to the Gorillaz. Gone Gone Gone.
The studio where I recorded 'Spin' and Savage Garden's 'Affirmation'? Broke.
The studio where I mixed 'The Tension and The Spark' ?
Dust.
They went broke because they weren't getting any clients. They weren't getting any clients because not many people could afford to spend the kind of money it costs to record in a quality recording studio facility. Those people couldn't afford to record in such spaces because record companies weren't offering the kind of budgets that used to allow for such costs. Record companies aren't offering those kinds of budgets because the sale of records doesn't earn enough money to pay back the investment. The investment is not being made because the sale of records are so low. The sale of records are so low because it has generally become the consensus that music is 'free'. Records sell so few copies these days that major record stores are closing down. When I was in L.A, I couldn't find the Virgin Mega Stores I used to love. 3 used to exist within a five mile radius of my hotel. They're gone now. When I was in San Francisco, I went to hang out at my favourite Virgin store where I bought 5 years of music, DVD's books t shirts etc. It used to be open until midnight most nights. Then it used to have reduced opening hours. Then one day, it closed. Now it's a massive building with nothing in it. Because the building used to sell music. And now the general consensus is that music is 'free'. People think that music is free because you can get it for free if someone gives it away for free. Giving it away for free really means that someone takes a copy of it, either before it is released or after one person has paid for it, and puts it online. When someone 'finds' it online, they're not 'stealing' it. They're 'taking it'. It was offered for free. And besides, they want it. Surely we should be allowed to have, for free, anything we want in life, no?
So who takes responsibility?
If someone steals a car (which costs about the same prices as say, making a cheap music video these days) and tried to sell it on ebay - all sorts of people would be held accountable.
But if, say, someone takes the new album by artist 'X' - and posts it on rapidshare - and a hundred thousand people take it - it seems no one is really held responsible.
They might say, 'well the record companies are making a fortune' (they're not) or 'The artist is rich (not anymore or possibly they never were) or maybe they'll point the finger at the person hosting the link - the third party. The 'pimp' in the transaction if you will. But you can't. Not really. What happens is the album eventually comes down, after a hundred thousand people have taken it - and the world continues.
Without record stores. Or great sounding albums. Or music videos that look amazing. Or with recordings no longer created in amazing recording studios on incredible equipment that no longer exists. Without record companies willing to develop new artists and spend money to promote them or allow them to grow. Because music is, apparently, free.
Would it be so crazy to suggest that an internet provider, a person who might describe their service as providing an ISP - are actually the ones responsible for the death of the recorded music industry?
Would it be so ludicrous to suggest that if ISP's cancelled the accounts of people who were identified giving away albums - that this whole problem might be less grim?
Ironically, try to catch a glimpse online of the recent Michael Jackson tribute at the VMA's. What's that? You can't? That's because youtube are terrified of Viacom. The minute any 'illegal content' appears from MTV it's immediately removed. The same can't be said for entire CD quality rips of music over at any number of file sharing web sites. Music, is apparently, free.
I say it all the time - but what is music worth to you? I paid for music when I was dead broke. And when I became wealthy from making a success of my career, I almost went broke making sure I could make music the way it should sound, in the way it deserved to be presented. So please don't accuse me of being in a position of privilege. I've always been about putting my money where my mouth was when it came to this issue. Most of the money I earned from my success in the past has been used to fund my own independent releases.
So my rant is really directed at Governments around the world to come down hard on ISP's. And protect the recorded music industry. Successful albums mean jobs - band members, crew, designers, directors, manufacturing etc etc etc. Retail Retail Retail. All soon to be Gone Gone Gone. This is not about popstars. It's about an industry that is falling apart ironically when the world's interest in music is at a peak.
For other artist's point of view, check out Lily Allen's latest blog or this article about Jamie T here.
xD
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Monday, September 07, 2009
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Category: Music
Originally written on 06 June 2009 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.com
I’ve just realized that I’ve got some of it a bit wrong.
Well, something
not quite right, yet. The songs that Robert and I wrote when he was here are
gorgeous and the ‘meat and potatoes’ in many ways of what I want to say
emotionally. But I was listening to them over and over the past few days and I
think they need a jolt of reinvention. Even though they’ve just been born, I
think I’ve worked out something crucial that needs to happen to them before
they’re in the right place. Mostly it’s in the rhythm section. ‘S’ is
perfect in terms of the arrangement and tempo and song structure. But it
sounds too organic at the moment and I really want to weave in some more
subversive elements in the rhythm section and take it from being a good song
into a great record.
There’s a huge difference I think between a song and a record.
A record
is unique, it’s a snapshot and a moment in time like fashion in some ways.
Underneath it is the core of the structure – the tailoring if you will. But the
surface is equally important and that’s the part that really needs finessing
now.
‘N’ is too slow I think.
I listen to it and want it to take off more,
and as much of a drag as it will be (I’d have to record the vocals and do all of
Steve’s guitars again) I think it’s a few bpm’s too slow. So I’ll work on it.
It also needs ‘stuff’ in the verses. More of a groove, less holes, less
impressionism. More of a solid base.
‘T’ is a beautiful song, but I think it also needs some sonic sprucing and
possibly a few lyrical substitutions. Not sure yet. One rubs me in a way
that I’m not sure is good or bad but it’s a rub. So I need to sit with it a
bit.
The other thing I’ve been wrestling a bit with is expectation – and trying
not to let that influence anything I’m doing. For example I’ve been reading a
lot of wonderful comments about older songs I’ve done and having a panic attack
thinking ‘Oh maybe I should write a song like that again!’. But then I stop
that stuff in its tracks because I have to take the stance that there is no
point in repeating myself. I still maintain the goal for this record is to
distill everything I’ve ever done and focus on being the best of what I am.
Taking all the things I’ve learned and putting it into one album that is
literally me on speed lol.
It’s difficult to resist the temptation to please people. Those who
flatter you because they love what you have done in the past – you can worry
about losing their support or their enthusiasm. But I’m trying very hard not to
let that seep in to the process.
The other thing that is difficult for me, is to allow things to marinade.
I tend to want to take a snapshot of a record when it comes into focus and say
‘it’s ready’. But I’m trying to give things space (this blog is a perfect
example) and make sure that what I’ve captured is exactly what the record should
be.
So it might take a while.
Right – there you go – and thanks for listening.
It’s actually wonderful
having your ears so early on in the process to be honest.
Not for feedback,
but just as a kind shoulder to rest on and pour out my thoughts. It
helps!
xxD
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Monday, August 24, 2009
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Current mood:recording
I just finished a brand new video blog about making my new album. It includes such thrilling moments as me making a cup of tea and banging on a paint tin. ;)
I'm in Sweden at the moment.. one more week here before I head to L.A
Work Work Work!!
xxD
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Monday, August 17, 2009
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Category: Music
Originally written on 05 June 2009 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.com
As I type this, it’s Thursday night and I’ve just had what I call
‘Happy Love Day’ which is my way of describing a ‘date day’ with my
lovely. It was much needed because I’ve had 2 weeks straight of
working hard on music and my brain is mush. Nothing like some
McLovin’ to make things better. We love what we do and work so hard
that it’s easy to take time together for granted. So I sort of insist
on some one on one time out of the house just to make us feel like a
couple.
Right – so it’s been a lot of hard work.
To go back to a couple of weeks ago, I did a charity performance for
the songwriter Rick Nowels at Home House in London. It was for an
organization, which raises money to allow children from economically,
challenged backgrounds to have access to a basketball team with
equipment, coaches and uniforms. I did it for Rick simply because he
asked and it was a delightful night, the highlight being seeing Belinda
Carlisle perform her laundry lists of hits. Loved it. But it left me
rather exhausted.
What many people probably don’t realize about me is that I have a love
hate relationship with singing. I love it for all the obvious
reasons, but I’m always terribly nervous before I sing and then
physically exhausted afterwards. Combine that with the fact that I
don’t have the most robust voice – in spite of taking care of it. So
I’m very susceptible to throat infections and general fatigue. Which
means my life is often in slavery to singing – not drinking alcohol (or
rarely) – not drinking caffeine and mostly not using my voice
unnecessarily (not going out to loud restaurants or bars, even not
laughing loudly or screaming with joy).
Then there’s the constant water need. Over 2 litres a day. Preferably 3 or 4! So it is an ordeal to say the least lol.
And I’m always knackered after a gig, as I was the day after this one
and the day that Robert Conley arrived from Australia to work with me
on writing and recording songs for my album. But I guess it put me
in a cool headspace.
At first we were both quite nervous. We hadn’t written a thing
together since writing ‘How to Build a Time Machine’ really. And in
that time Robert had seriously developed as a major songwriter in
Australia being signed to Sony/ATV publishing and co writing the most
played song on Australian radio of this year (Axle Whitehead’s ‘I don’t
do surprises’). He’d become more accomplished and the dynamic has
definitely changed. But for the better I would say.
He’s got a great sense of what is and what is not appropriate at radio
which although is never my consideration, it’s nice to hear someone’s
take on whether or not something is necessary or not. And I like that
aspect to the songwriting at the moment. It balances out my desire to
just go off on a zillion tangents. But the tangents are still there.
I can’t help it!
The first song we worked on was a track I’ll call ‘N’. It is a
turbulent song about, well I won’t tell you what yet. But I will say
the entire album is about relationships and it’s very much first person
and not metaphorical in the way my last album was. So that song was
written and recorded (in sort of 60% quality) in 2 days.
The next song we started to work on I’ll call ‘S’ and we had a basic
production and melody sorted out and then something bizarre happened.
Our session was harpooned by an urgent request by a publisher and Syco,
the Simon Cowell label, for me to attend a song writing camp to write
tracks for the big 3 records they have coming out this year. As I’ve
probably explained, I’ve been doing work for this label a bit this year
– and it’s a fun opportunity and one that doesn’t come along often so I
had to do it. But it was strange ripping myself out of ‘album’ mode
and back into someone else’s. But I’m sort of used to that on this
record and in fact it’s what I’ve liked about it because I’m slowing
building the house and I get to go off and garner new perspectives and
bring back bits and pieces I like to the table.
Anyhoo – there were some amazing writers there. Each day I worked for
at least 16 hours and it was truly exhausting. By the 3rd day I was
ruined and came back to work with Rob and could hardly sing.
So for the next few days I was writing my melodies by whistling instead
of singing, and then eventually playing them note-by-note on the piano
which I rarely do.
But once again, really nice happy accident because the guitar sessions
that Steve Young did, only really had simple melodies to bounce off and
it made for a really lean and tight use of arrangement. You could
clearly hear what did and what did not support the melody.
Anyway to regress, the song ‘S’ is the song about messing things up in
a major way. It is dramatic and sweeping and I can imagine the album
opening with it. I’ll never over explain these songs as I always want
your own interpretations – but there are many layers to these songs.
Sometimes I think people might listen and think ‘oh my god Darren’s
relationship is breaking down’. Because many of the songs discuss
friction and yearning and loss. But that’s obviously not the case at
all. I’m using the songs to vent about everyone and everything but
using love songs as the medium. I think songs about relationships and
love are what define me – and the language through which most of my
therapy is done. So on this record, I’d day that’s what I mean about
‘return to form’ or ‘pop’. It’s about universal themes.
On to the subject of ‘Pop with a capital P’ I want to stop saying that
about this record because you might be expecting me to make a sugary
pop record and it couldn’t be further from that. It’s more ‘Bat For
Lashes’ than it is ‘Lady Ga Ga’. It’s pop in terms of melody and
accessibility but it’s definitely deep and layered and interesting.
Right, on to the 3rd song. It’s a song I started writing with Steve
Young when he played me a chord progression he’d written. I had
tears in my eyes when I first heard it over 6 months ago and I’ve been
promising him ever since that I’d write a song to it. Robert and I
took Steve’s chords and turned them into verses, then he and I wrote a
chorus progression and added that to the song. The result is probably
the album title track (but honestly you never know – with at least a
year away from release and more songwriting planned I have no idea what
will and wont’ make the final cut). But I can say it’s exactly how I
hoped it would be – and is full of e-bow guitar. Just gorgeous.
Right now I’m taking a week off from everything and next week am doing
some writing for more ‘other people’. I won’t be working on my album
again until Shave gets here in July. So I’ll update more about the
progress when he touches down.
There are 11 finished songs in the can now – with another 3 planned to
be finished in July and then more writing planned after. The goal is
still 20 songs so choose a definitive album from. Wish me luck!
xxD

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Tuesday, July 28, 2009
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Category: Music
Originally written on 28 May 2009 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.comI guess I have
started working on my album. If you don't want to know any of the
details then avoid blogs titled 'making of the album' like this one.
And read no further.
It's
weird playing cloak and dagger about the details because unlike the
last record, where I didn't know I was starting it until suddenly I had
a bunch of songs and I set a definite time line and location. This
one has been worked on in short sharp bursts at the moment. My plan
is that by August I will have a short list of songs that I intend to go
on the record - and then I'll make a decision about what extra works
needs to be done recording and writing wise, and eventually set a date
for mixing.
August deadline is more for business
reasons than release ones. There are certain partners that I need to
get on board to make sure this record sees the light of day - and I
want to be able to present a very good demo version of the album by
that stage. I would probably mix it either late this year or earlier
next year but I don't imagine it would be released any time sooner than
mid or late 2010. But you said you wanted to be in on the process so
here it is!
There are about 7 songs that
already sit on my ipod in a playlist that I call 'new album'. I don't
know if they'll all end up on there but a good deal of them will.
A
couple of them came from meeting with other songwriters and working on
songs for other artists. It's been a wonderful accident really
because the subconscious mind thought I was not making my own album so
I could 'do what I wanted to do' which ironically meant that I was in
fact doing exactly what I wanted to do without the pressure of thinking
that I had to deliver for me. As a result, whether it's because I put
my own personal stamp on them too much or they just didn't fit the
brief, many of the songs remained in my custody. There is one and
potentially two songs that are being recorded by quite a big pop group
- but it's never official until it happens so I'll let you know if it
does. Anyway, back to my story - I started to realize that I was in
fact writing songs for my new album, albeit with some new
collaborators. Looking back (some of you can probably remember more
than I can) I think most of my albums begin without me consciously
saying 'I am now officially making an album'. I usually need some kind
of diversion to get myself out of 'myself' to allow a new process to
kick in. With 'Tension..' that was a 'side project' with Robert
Conley. With 'Delicate..' it was writing songs for the Savage Garden
'Best of' and experimenting to find a new sound. In all of those
examples, I most certainly was not making an album until I looked back
and realized I had a lot of the songs.
Such
has been the process this time. And in terms of the pop direction,
this has been a really happy accident. I was first approached by a
major pop label to write songs for their artists. They hooked me up
with various people I'd never met before and my eyes were widened. The
preconceptions I had about 'pop' were tumbling down like a house of
cards because I was loving the songs and learning so much in the
process of working with people who do it day in and day out. For me,
as an artist, it's easy to just come up with material when I need it.
But for some of these guys it's a high stakes profession where they are
expected to come up with the goods. So their expertise and my
fluidity has been a wonderful match. So there's a few names I've
worked with that I'll mention later when it becomes more confirmed, but
one is from Sweden, one is English but has had lots of U.S hits, one is
American and an old friend and major hit maker. Of my old friends
obviously one is Justin Shave and the other is Robert Conley. Who I
am working with in the studio as we speak.
Robert
is here for 2 weeks and then I am doing more work with other writers
for a bit before Justin Shave comes over for a few weeks to do some
stuff.
After Justin I might end up going back to Sweden for a
bit and possibly working with some more people. The goal is to have
more material than I could possibly want.
My
aim for this record is for it to be the best of what I do. I feel like
an olympic athlete and I'm gearing up for the best competition of my
life. I have something to prove to myself as well as all of you. I
want to take some of the artistry and the emotion that I've been able
to develop over the last two albums but pair that up with the most lean
and melodically strong and unforgettable songs you've ever heard on the
radio. So in some ways it follows that this record might be
considered a 'return to form' (I hate that phrase) or a more accessible
record. But I like to think of it as me reclaiming something that is
mine. Sneaking my quirks and theatrics into the mainstream via the
undeniable medium of melody. If that is what makes a good pop record
(and when I say a good pop record I mean something like Madonna's 'Like
a Prayer' album or The Killers 'Hot Fuss' - just wall to wall great
songs) then that is what I'm trying to make. A classic album. Not
the sound of those albums, but the strength if you know what I mean.
There's
a pretty strong theme running through a lot of it - obviously it's not
a concept album but honestly, aren't all albums (or shouldn't they)
have some kind of unifying idea? This one stems from a lot of imagery
I've collected over the past year, poems and lyrics I've been hiding
away and observations, hopes and fears about life and love. Mostly it
began from a memory of a painting that once hung in my parent's house
and a story someone told me. It's a big metaphor for life and
relationships and I can't wait until it becomes less foggy and more
clear and presentable to you.
Let me try to tell you a story about some of the songs. Let me start with the Swedish ones.
One
of them, that I'll call 'B' is literally gobsmackingly awesome. It was
initially written for someone huge but it made it to the final rounds
and wasn't chosen. Thank you Jesus is all I can say because handing it
over was like giving over a child to a stranger. When it was written
I actually said 'that is the sound of my new album' so it's very
serendipitous that it's still in my possession. Even if it doesn't end
up on my album it deeply shaped the sound of it so either way it's a
blessing. There's still some debate over whether another artist at the
label might record it but we're holding pretty firm on the fact that
I've now fallen in love with it and I can no longer bear to part ways.
I'll keep you updated.
The next song, was written with Justin Shave and I'll call it 'G'.
It
was a direct reaction to the sound of 'B' and is probably my favorite
song so far. I'm not sure. It's massive. Theatrical. Celebratory.
Gothic. Religious. Massive.
The next song
I'll call 'D' was written with a super dooper massive song writer
producer extraordinaire who I found intimidating at first and then
lovely. It's what some people are saying could be a first single.
Simple powerful song that explodes into something huge at the end.
Love it.
Song 'T' is 'Up' and sad at the same time. Again written with the swede. Big vocals bloody high notes. I love it
Song 'L' was inspired by the film 'Let the right one in'. Very moody and cinematic. Again written with the Swede.
Song
'S' is possibly the title track. Written with the swede, almost a
stream of consciousness melody in reaction to a poem I had written
specifically for the song months beforehand. In many ways the whole
point of the record. A real departure for me in terms of sound.
Hard to describe. Tiny but panoramic.
The
song I wrote with Robert (I'll call N) was finished just yesterday.
It's a big joyful chorus and bittersweet sentiment juxtaposed.
The
second one (I'll call 'S'), still needs lyrics but is already one of my
favorites on the record. He and I have come up with a totally unique
sound for the two of us. We've never done anything like these two
songs before.
So that pretty much brings you up to date on where we are at.
Let's see where it takes us!
In the meantime
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Friday, July 24, 2009
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Wednesday, July 08, 2009
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It's such a sad day for those who appreciated Michael Jackson today. A day of celebration of a glorious life. But sadness that it was taken so quickly and so soon. And denying children of a father and a family of a beloved brother and son. I was so moved by the poem written by Maya Angelou at the memorial I wanted to post it here. As I cried my heart out today I realized that it was for the greatness we lost and perhaps some shame for what a cruel world did to someone so unique. It was the irony that in spite of what little the world gave him at times, this man gave every atom in his being to the dance of life. And for a handful of years we were lucky enough to bask in the glory of that magnificent light. As someone said to me recently, each of us has a flame inside us that needs igniting. Michael did that for me as a 13 year old boy. And though he is no longer among us, I like to think that my flame burns a little bit brighter because of him and his gift of music, dance and wonderment. I carry it with me and I hope that I can be selfless enough to pass it on to anyone who should need to find their unique spark. We Had Him - By Maya Angelou Beloveds, now we know that we know nothing, now that our bright
and shining star can slip away from our fingertips like a puff of summer wind.
Without notice, our dear love can escape our doting embrace.
Sing our songs among the stars and walk our dances across the face of the moon.....
The instant that Michael is gone, we know nothing. No clocks can
tell time. No oceans can rush our tides with the abrupt absence of our
treasure.....
Though we are many, each of us is achingly alone, piercingly
alone. Only when we confess our confusion can we remember that he was a
gift to us and we did have him.
He came to us from the creator, trailing creativity in
abundance. Despite the anguish, his life was sheathed in mother love,
family love, and survived and did more than that.
He thrived with passion and compassion, humor and style. We had
him whether we know who he was or did not know, he was ours and we were his.....
We had him, beautiful, delighting our eyes. His hat, aslant over his brow, and took a pose on his toes for
all of us. And we laughed and stomped our feet for him.
We were enchanted with his passion because he held nothing. He
gave us all he had been given.....
Today in Tokyo, beneath the Eiffel Tower, in Ghana's Black Star
Square. In Johannesburg and Pittsburgh, in Birmingham, Alabama, and
Birmingham, England.
We are missing Michael. But
we do know we had him, and we are the world. 
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Friday, June 26, 2009
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When I was a little boy, he was my hero. When I was a young man, he was my sanity. Taking me away from the pain in my life and filling my heart with joy and wonder. When I was 13 I saw him live in concert and from the second he arrived on stage I knew what I was going to do for the rest of my life. It was September 1987 and I have to this day never seen anything more extraordinary. To this day I've never seen a reaction from audience like the one he received. I've never seen magic and glitter fly through the air and witness that electricity start up hearts the way he did that night. And now I'm certain the world never again will. Thank you Michael Jackson. On behalf of dreamers the world over. The world is a duller place without you. I'm so privileged to have lived in the same lifetime to witness even a moment of your glory.

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Wednesday, June 17, 2009
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Current mood:twit
Category: Music
I'm tweeting. Twittering. Twerping. Whatever it's called I'm doing it and a lot more than I thought I would. Come follow me there too @ www.twitter.com/darrenhayes Wahoo!

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