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I saw it in a shop online, and I just kept going back to it. I could see it! So I wrote loads of stuff. I just wrote a fantasy story about Vladimir Putin. I wanted to cast him in this homoerotic environment, almost like a surreal thing where his masculinity is his downfall. He just wants to take his shirt off with another man and just have a little cuddle, and then they can go back to being—okay, I know.
This is what being on the Trans-Siberian Express and not speaking English for two weeks does to you [ laughs ]. But I started putting this story together, and then I chipped away at it and made it into a song.
When a song like that comes together for you, are there different ways it can happen—like on a guitar, or with a beat? It was a weird, convoluted way of doing it, but I didn't want to get obsessed with the song , and I didn't want to get obsessed with the sound. I wanted to separate them until the last minute.
Does that make sense? Both halves of the Kills keep busy. What do you play to go digging for those? After slamming his hand in a car door, Jamie Hince had five surgeries and a tendon replacement in , forcing him to relearn how to play the guitar without the use of his left middle finger.
Does that happen for you, with your Martin acoustics? Mosshart: Oh yeah. They definitely suit me. You have a lot of influences running through this album—a little bit of everything compared to your older records.
They just did it like that! The first one had one, the second had two, then three, and then four. I was reading a lot about the mathematics of music, and it sounded really good when I programmed it. I do know absolutely for sure that the first parts came from listening to Vybz Kartel, this Jamaican dancehall with crazy delivery.
I couldn't work out how they were doing it. It was like the bass drum started on one bar, and the phrasing of the vocal melody seemed to start halfway through it. It was just fucking genius. You also have soul and gospel influences on here. And I heard us back a couple of times, and I didn't think it had soul in it like I wanted it to. So we were just trying to inject some soul into it. I wanted it to be a Kills soul record, with a dub production sound to it. There was just nothing else to add to it, really.
I just played guitar parts to go with the vocal. He keeps several Hofner axes on hand in different tunings, including standard, drop D, and C. About of these guitars were made. He uses. Hince has increased his previous two-amp setup to four amp combinations, all on, for a blended tone. He uses a Divided by 13 FTR 37 for a bright reverby sound, a Selmer Zodiac for cleans, a Selmer head with Divided by 13 cab for a wooly low end, and a s Magnatone He now has about 10 Selmer heads. This album was about using different tone amps.
Alison Mosshart plays a Gretsch Corvette. Her main ride is outfitted with stars she applied when she dressed up for Halloween as the night sky and wanted her guitar to match.
Rig Rundowns. Riff Rundowns. Why I Built this. The Big 5. Runnin' With The Dweezil. Wong Notes. Rig Rundown Podcast. Bass Gear. He injected me with cortisone again, and I just merrily went off to Marrakesh for a week. I barely slept the whole time I was there; I was just in this excruciating pain, and my finger started turning deep purple.
There was obviously something really wrong, and when I got back to London, they kind of panicked and put me straight into surgery. I lost my tendon from the tip of the finger up to my wrist. Did you ever worry about how badly it was going to affect your playing in the long term - or whether you might be finished as a guitarist?
So I put all my effort into starting a studio up, and writing from that point of view. The lucky thing is that I started this band with the idea that I wanted to be The Stooges on stage, and Massive Attack in the studio. How frustrating was it to have to work in fits and starts to accommodate the recovery time from the surgeries? Did you ever feel as if the record was never going to be finished?
I started getting into programming a lot more. So I suppose I was thinking about how I could make my own band sound a bit more adventurous in its approach to the guitar, a bit more forward-thinking.
I was trying to be clear, when I brought up Rihanna, that there was no fucking irony to it. It blows my mind that he can put out a compilation of really diverse demos, present it really awkwardly, and have it go straight to number one in the States. I think one of the reasons for that is that the audience for hip hop have almost wanted for it to go a bit weird and psychedelic and experimental.
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