Alan Cross: So, putting together an album is a very intricate sort of a thing. You guys started working in Fez. Where did you go from there?
Daneil Lanois: We started in Fez Morocco because we wanted a musical and exotic location. One of my first conversations with Bono was one about future hymns—spiritual songs for the future—and he was at the opinion that Morocco would be a great crossroads for a universal feeling for the album.
AC: Did it work?
DL: I think it worked, it set a lovely tone. But the funny thing is everything sounded a little more Moroccan without even ever being to Morocco. So just by having the thought in our heads, it meant that are preparations prior to arriving in Morocco already had a little bit of exoticism in them.
AC: Where else was the album written and recorded?
DL: We were in the south of France for a good part of it, and that was fantastic because we were away from are usual pre occupations. And it was nice to be looking at the Mediterranean every morning. I feel that just as much came out of France as came out of Marico.
But we have always done well in locations out of the ordinary, out of the formal recording studio actually, so working in Marico and France was a continuation of that angle or philosophy that we always operated by.
AC: Well I guess you have no place else to go because Hanover key is gone. It’s been expropriated, the land has been expropriated they were suppose to build a tower there.
DL: Well U2 still have there digs in Dublin but I think there is talk about a relocation, but it has not happened yet.
AC: With this album were you again the hands on guy, and was Eno the oblique strategies bowfin in the background?
DL: We had a great beginning on this record, Eno and I, with the band huddled up and no holds barred just had a lot of fun for a few weeks trying all kind of angles and jams.
We all brought something to the table on this time around, Eno is a great man for bringing in prepared rhythmus for Larry to play. too. So we had a lot of fun with that and my technological beginnings.
Alan Cross is the host of the radio edition of ExploreMusic as well as The Ongoing History of New Music. He’s also the senior program director at Splice Interactive and the Chief Curator of Exploremusic.
source: www.exploremusic.com/home/TheMusicGeekBlog
Daneil Lanois: We started in Fez Morocco because we wanted a musical and exotic location. One of my first conversations with Bono was one about future hymns—spiritual songs for the future—and he was at the opinion that Morocco would be a great crossroads for a universal feeling for the album.
AC: Did it work?
DL: I think it worked, it set a lovely tone. But the funny thing is everything sounded a little more Moroccan without even ever being to Morocco. So just by having the thought in our heads, it meant that are preparations prior to arriving in Morocco already had a little bit of exoticism in them.
AC: Where else was the album written and recorded?
DL: We were in the south of France for a good part of it, and that was fantastic because we were away from are usual pre occupations. And it was nice to be looking at the Mediterranean every morning. I feel that just as much came out of France as came out of Marico.
But we have always done well in locations out of the ordinary, out of the formal recording studio actually, so working in Marico and France was a continuation of that angle or philosophy that we always operated by.
AC: Well I guess you have no place else to go because Hanover key is gone. It’s been expropriated, the land has been expropriated they were suppose to build a tower there.
DL: Well U2 still have there digs in Dublin but I think there is talk about a relocation, but it has not happened yet.
AC: With this album were you again the hands on guy, and was Eno the oblique strategies bowfin in the background?
DL: We had a great beginning on this record, Eno and I, with the band huddled up and no holds barred just had a lot of fun for a few weeks trying all kind of angles and jams.
We all brought something to the table on this time around, Eno is a great man for bringing in prepared rhythmus for Larry to play. too. So we had a lot of fun with that and my technological beginnings.
Alan Cross is the host of the radio edition of ExploreMusic as well as The Ongoing History of New Music. He’s also the senior program director at Splice Interactive and the Chief Curator of Exploremusic.
source: www.exploremusic.com/home/TheMusicGeekBlog
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