coldpatrix
09-08-2011, 06:31 PM
Hi Davide! It's always a pleasure to talk with you, everytime we feel like we're chatting to a friend in a bar! How are you? Are you on vacation or still working hard?
Hi guys! It's my pleasure really. I'm at home right know, almost peacetime, even if two weeks ago I was in London with Chris, working on the last notes of the new album.
Let's start talking about Every Teardrop Is A Waterfall, the new single Coldplay released about two months ago, in which you have had your hand (ops, sorry, your strings!), again. The credits are pretty clear actually. Which aspect of the song have you focused on?
Well, usually my work with the guys focuses mainly on the strings. As regards this song, and the other tracks I've worked on for this album, I've been 'getting over' it many times and at different times too. I usually "fill" the song with my ideas, leaving them the choice of what to keep or discard. In the end, only four notes were chosen for ETIAW, at the beginning of the last chorus. A sort of 'supporting colour' before the intense final of the song.
The song, even though it has become a world hit, was not much appreciated by the public and critics at the beginning. Too close to 'Viva' and so different from the first band's releases, according to some fans. Based on an old song of Peter Allen, the biggest mistake according to the music magazines. But you strongly argued in support of its melody, writing on your Facebook page 'Everyone seem to criticize Coldplay for their new single. I just think they are masters in turning a simple stupid sample in the most symphonic piece of music. I'm proud to be working with them.' ETIAW has sold over 1 million copies across the world so far, tell us: is it like your own revenge?
Obviously, as I work with them more and more, I'm not able to be impartial on their choices. So, I focus on my personal feelings, my 'gut feelings'... I remember very well when Chris made me listen to the song for the first time. It was a night few months ago, I had just finished working on another song at the Beehive and I went to the Bakery to see what was going on. Dan (Green, sound technician) was with Chris in the 'control room' and as they saw me beyond the window, they invited me inside and Chris, with his usual enthusiasm, just performed the song in the studio. Everytime something like that happens, I always feel amazed I am so lucky to enjoy such special moments (and it happens a lot with the guys, almost everyday). I was just impressed by the force of the melody, the enthusiasm oh his performance and by the song itself. I did not get any resemblance to the loop of the Peter Allen's song... But then when Chris told me about him, just before we headed to his home, I told him I couldn't believe and I just burst out laughing, because, as many people know, there's another version of the song by a '90s Spanish group, the Mystic, who did a cover called 'Ritmo De La Noche', that became a summer hit in the Mediterranean areas, a song that, someone like me, ended up hating suddenly (forgive me, Mystic!). In that moment I realized how much genius Coldplay have in putting their pop influences, also the most commercial ones, in their music.
The unique sound of your Violectra rules the final part of Moving To Mars, an old styled Coldplay ballad. Chris did it right including your part in the song! What do you think about it? It feels strange it's more appreciated and selling more that Major Minus...
Yes, I'm happy with the song. But, unlike you, I think it is pretty unusual in Coldplay's stuff, boht the oldest and the more recent one. I think it is almost 'progressive' for some aspects.
Let's start talking about the new album, that has been named LP5 but it will have a official title and tracklist very soon. We know that the recording sessions were very busy, with much work to do and strong desires of creating stuff. Do you think that such frantic search for perfection has been good for the new release, and also for your collaboration with Coldplay? And, were you able to keep up with the changes of Chris and co.? From an acoustic album to a Pandora's box including all the knowledge in one album...
As for the previous album, my recording session last for a very long time. I started in December 2009 and I finished two weeks ago. I usually work with some breaks. The nicest thing of this sessio was the fact that we've already known each other pretty well. Me and them are friends now, we play football together, we hang out, I'm visiting them very often when I'm in London... It feels like being in a family. And I think they like I am in the studio, since only few musicians have the possibility to 'freely' access their studio. And that influences their music and I think my contribution to the album is even more important than the previous one. There are no songs with as many strings as Viva La Vida (that has become a classic so far), but my work is more estabilished and deep in their sound. The frenzy and their way of working ceaselessly has always been very inspiring to me. I've always said that one of the reasons they are what they are is that they work their guts out. Unlike it was for Viva, I have to say the work was much more focused, checking things out many times and from different points of view.
What are you expecting from this album? How do you think its sound would be? What do you think about it, from the feelings you collected during the entire process of creation?
In my opinion this album will estabilish again Coldplay as one of the biggest band of these years. Obviously I'd really like to listen to the final product and to enjoy it completely to give my final opinion. I trust the work that had been done and the passion they put in it. At the end, I told Chris and Phil that this could be their 'Sgt. Pepper's', with the new experimentations I listened to, their new approaches and arrangements and so on. But, as I said before, I rest upon my 'gut feelings'. Let's wait to listen to it before saying anything.
Do you have some funny story you can tell us, from the recording sessions of the new album? We bet you had some funny moments almost everyday...
There are too many... I am a really funny guy and unfortunately or luckily I don't care whom I talking to, even if they are the most famous world rockstars... Chris and me usually joke a lot. When we are really tired at the end of the day, we do a jam session when we play anything we want. I often choose the drums and make faces, and every beat has its face... Keith Moon go home! (he laughs) I remember one night we were doing some aerobics with Chris in the gym of the Beehive. Coldplay care about our bodies and we train! (he laughs again)
Chris confessed many times that the contribution of Jonny was fundamental to increase the quality of the album and of the band too, estabilishing himself as a musician in full growth and development. Do you agree with him or do you think that this progress has been produced by each member of the band equally?
Absolutely, every time I came back in the studio I noticed the parts of Jonny were really great. I really agree with Chris.
It's extraordinary how you can play and make your Violectra 'speak' in everyone of your collaborations with Coldplay, as you and them have been knowing eachother for many years. Maybe it's like you feel at home when you are together... How do you evalutate your relationship so far? Do you wish working again with them or are you going to focus more on your own work in the near future?
I think that we have become a great team after working on this album. Me and Rik (Simpson), Dan (Green), Jon (Hopkins), Markus (Dravs) and obviously Phil (Harvey) and Brian (Eno), were able to become in someway part of the band, other than playing and working simply as collaborators. I hope I could be working with the guys forever, even if everything comes to an end sooner or later, and everyone working in music has to get used not to attach to the projects he works on.
The last question: when can we see you on the stage with Coldplay for a great show? Maybe during the next tour... We are ready to present a petition to make this happen. Have you ever talk Chris and co. about this little dream of yours?
I laugh because I must not cry! Well, I don't see it happens, the only time it happened was for the performance of Hope For Haiti, where I played in half-light..
Ok, we would like to wish you happy birthday (it was few days ago), hoping it was the brightest of the last years!
Thanks, I'm very happy to be over 24 years old! (he jokes...they are more). Bye everyone and thank you for your support and your simpathy!
Source: http://www.coldplayzone.it/index.php?option=com_k2&view=item&id=1707:davide-rossi-il-nuovo-lp-sar%C3%A0-il-loro-sgt-peppers&Itemid=141
In my opinion, the best interview i've had with Davide so far!
Hi guys! It's my pleasure really. I'm at home right know, almost peacetime, even if two weeks ago I was in London with Chris, working on the last notes of the new album.
Let's start talking about Every Teardrop Is A Waterfall, the new single Coldplay released about two months ago, in which you have had your hand (ops, sorry, your strings!), again. The credits are pretty clear actually. Which aspect of the song have you focused on?
Well, usually my work with the guys focuses mainly on the strings. As regards this song, and the other tracks I've worked on for this album, I've been 'getting over' it many times and at different times too. I usually "fill" the song with my ideas, leaving them the choice of what to keep or discard. In the end, only four notes were chosen for ETIAW, at the beginning of the last chorus. A sort of 'supporting colour' before the intense final of the song.
The song, even though it has become a world hit, was not much appreciated by the public and critics at the beginning. Too close to 'Viva' and so different from the first band's releases, according to some fans. Based on an old song of Peter Allen, the biggest mistake according to the music magazines. But you strongly argued in support of its melody, writing on your Facebook page 'Everyone seem to criticize Coldplay for their new single. I just think they are masters in turning a simple stupid sample in the most symphonic piece of music. I'm proud to be working with them.' ETIAW has sold over 1 million copies across the world so far, tell us: is it like your own revenge?
Obviously, as I work with them more and more, I'm not able to be impartial on their choices. So, I focus on my personal feelings, my 'gut feelings'... I remember very well when Chris made me listen to the song for the first time. It was a night few months ago, I had just finished working on another song at the Beehive and I went to the Bakery to see what was going on. Dan (Green, sound technician) was with Chris in the 'control room' and as they saw me beyond the window, they invited me inside and Chris, with his usual enthusiasm, just performed the song in the studio. Everytime something like that happens, I always feel amazed I am so lucky to enjoy such special moments (and it happens a lot with the guys, almost everyday). I was just impressed by the force of the melody, the enthusiasm oh his performance and by the song itself. I did not get any resemblance to the loop of the Peter Allen's song... But then when Chris told me about him, just before we headed to his home, I told him I couldn't believe and I just burst out laughing, because, as many people know, there's another version of the song by a '90s Spanish group, the Mystic, who did a cover called 'Ritmo De La Noche', that became a summer hit in the Mediterranean areas, a song that, someone like me, ended up hating suddenly (forgive me, Mystic!). In that moment I realized how much genius Coldplay have in putting their pop influences, also the most commercial ones, in their music.
The unique sound of your Violectra rules the final part of Moving To Mars, an old styled Coldplay ballad. Chris did it right including your part in the song! What do you think about it? It feels strange it's more appreciated and selling more that Major Minus...
Yes, I'm happy with the song. But, unlike you, I think it is pretty unusual in Coldplay's stuff, boht the oldest and the more recent one. I think it is almost 'progressive' for some aspects.
Let's start talking about the new album, that has been named LP5 but it will have a official title and tracklist very soon. We know that the recording sessions were very busy, with much work to do and strong desires of creating stuff. Do you think that such frantic search for perfection has been good for the new release, and also for your collaboration with Coldplay? And, were you able to keep up with the changes of Chris and co.? From an acoustic album to a Pandora's box including all the knowledge in one album...
As for the previous album, my recording session last for a very long time. I started in December 2009 and I finished two weeks ago. I usually work with some breaks. The nicest thing of this sessio was the fact that we've already known each other pretty well. Me and them are friends now, we play football together, we hang out, I'm visiting them very often when I'm in London... It feels like being in a family. And I think they like I am in the studio, since only few musicians have the possibility to 'freely' access their studio. And that influences their music and I think my contribution to the album is even more important than the previous one. There are no songs with as many strings as Viva La Vida (that has become a classic so far), but my work is more estabilished and deep in their sound. The frenzy and their way of working ceaselessly has always been very inspiring to me. I've always said that one of the reasons they are what they are is that they work their guts out. Unlike it was for Viva, I have to say the work was much more focused, checking things out many times and from different points of view.
What are you expecting from this album? How do you think its sound would be? What do you think about it, from the feelings you collected during the entire process of creation?
In my opinion this album will estabilish again Coldplay as one of the biggest band of these years. Obviously I'd really like to listen to the final product and to enjoy it completely to give my final opinion. I trust the work that had been done and the passion they put in it. At the end, I told Chris and Phil that this could be their 'Sgt. Pepper's', with the new experimentations I listened to, their new approaches and arrangements and so on. But, as I said before, I rest upon my 'gut feelings'. Let's wait to listen to it before saying anything.
Do you have some funny story you can tell us, from the recording sessions of the new album? We bet you had some funny moments almost everyday...
There are too many... I am a really funny guy and unfortunately or luckily I don't care whom I talking to, even if they are the most famous world rockstars... Chris and me usually joke a lot. When we are really tired at the end of the day, we do a jam session when we play anything we want. I often choose the drums and make faces, and every beat has its face... Keith Moon go home! (he laughs) I remember one night we were doing some aerobics with Chris in the gym of the Beehive. Coldplay care about our bodies and we train! (he laughs again)
Chris confessed many times that the contribution of Jonny was fundamental to increase the quality of the album and of the band too, estabilishing himself as a musician in full growth and development. Do you agree with him or do you think that this progress has been produced by each member of the band equally?
Absolutely, every time I came back in the studio I noticed the parts of Jonny were really great. I really agree with Chris.
It's extraordinary how you can play and make your Violectra 'speak' in everyone of your collaborations with Coldplay, as you and them have been knowing eachother for many years. Maybe it's like you feel at home when you are together... How do you evalutate your relationship so far? Do you wish working again with them or are you going to focus more on your own work in the near future?
I think that we have become a great team after working on this album. Me and Rik (Simpson), Dan (Green), Jon (Hopkins), Markus (Dravs) and obviously Phil (Harvey) and Brian (Eno), were able to become in someway part of the band, other than playing and working simply as collaborators. I hope I could be working with the guys forever, even if everything comes to an end sooner or later, and everyone working in music has to get used not to attach to the projects he works on.
The last question: when can we see you on the stage with Coldplay for a great show? Maybe during the next tour... We are ready to present a petition to make this happen. Have you ever talk Chris and co. about this little dream of yours?
I laugh because I must not cry! Well, I don't see it happens, the only time it happened was for the performance of Hope For Haiti, where I played in half-light..
Ok, we would like to wish you happy birthday (it was few days ago), hoping it was the brightest of the last years!
Thanks, I'm very happy to be over 24 years old! (he jokes...they are more). Bye everyone and thank you for your support and your simpathy!
Source: http://www.coldplayzone.it/index.php?option=com_k2&view=item&id=1707:davide-rossi-il-nuovo-lp-sar%C3%A0-il-loro-sgt-peppers&Itemid=141
In my opinion, the best interview i've had with Davide so far!