Billy comenta 'TheFutureEmbrace'

[Dagger]

ALL THINGS CHANGE:
This was the zero point for the record. We'd been messing around for a couple months, but "All Things Change" was the first time we found the feeling we were going for musically. I knew I wanted to sing something at the end, and the words "We can change the world" came into my head when I was driving around. I thought, "Oh man, you're asking for it." But there's something so car-crashy about someone actually saying something like that -- you don't want to look but you have to. The feeling is authentic. I do feel we can change the world, but it's not a Michael Jackson sense. There's a sense here that it's not going to be easy.

MINA LOY (M.O.H):
The guys I worked with on the album would label the soundscapes I had. This song was originally called "My Old Heart" and they abbreviated the name in the sound file as "M.O.H." At first I wasn't sure about my lyrics to "Mina Loy" because I felt like I was returning to one of my old themes -- rage. Yet it expressed my general feeling of paranoia. I live in Chicago and I love my city so much -- I love it like a woman. I was thinking how I'd feel if anyone ever set off a dirty bomb and destroyed this place I love so much. This is not some vague Soviet threat. It's the thought that someone on a whim can put their finger on a map and destroy something beautiful.

THECAMERAEYE:
This is like one of those poems where you vaguely know what it's about, but can't quite explain it. It has something to do with this feeling that love is constantly being perverted. You're constantly asking yourself what true love really is. I've been with women and I thought I found my true love and it's turned out to be the worst, most hurtful thing. You think, is that true love? I've been with woman who are completely devoted and would lie across a railroad track for me, and I think this is kind of boring. So what is true love anyway? Somehow the words and the images in "TheCameraEye" communicate that to me.

TO LOVE SOMEBODY:
The original song by the Bee Gees is in a major key and very up-sounding, and I knew it wouldn't fit that way. So I slipped it all into a minor key, so it's the same melody but sadder. We finished the demo and my engineer thought it was one of the best things we've ever done -- and that was just the demo. So I'm pretty good friends with Robert Smith from the Cure who were a big influence on me. We're not just rock buddies, we sort of have a loving relationship from afar. So I called Robert up and said, "Will you sing on my record?" He said, "Sure, whatever you want." I said, "It's a Bee Gees song." Over the Transatlantic line I hear Robert Smith going "The Bee Gees?" I said, "Trust me, just do your thing and it will be fine." He did and it was great.

A100:
Just your typical God is Disco Love Song. I come from Chicago, the home of house music. We grow up there in a place where for a lot of people it's really all about the kick drum. That's why New Order was so big in Chicago -- they really captured that feeling. There's still something in me that just resonates to that Big techno moment. That said, the song is still semi-sarcastic. I've got my tongue in my cheek a little bit there.

DIA:
One of the last songs written for the album. I figured out some new ways to write songs this time and by this point in the process I'd gotten comfortable with new approach. So I went back to my old process. To me, it's sort of an old school song written in a new way. "DIA" has got a nice Gothic vibe. Actually, Courtney Love was staying at my house at the time. She’d come into town for me to write songs for her record. I had this one and another one. I liked the other one, but Courtney picked this song.

NOW (AND THEN):
This one's just really sad -- some fucked up, weird tale of teenage isolation that never really happened to me. It's a sad devotional about willing to be hurt and consumed by someone. At first the song had a different feel and I was ambivalent about it. Perhaps it was a bit too Pumpkins for me right now. Then Bon said he really loved the song, and thought it was the best thing we'd worked on. He said, "Mind if I f*ck it up for you?" So then I went away, came back and thought what Bon had done was really beautiful. Then the whole song clicked for me.

I'M READY:
Bjorn wanted me to take this one off. He said, "It's not that I don't like it, I'm just not sure if it fits the record." And in a way, that's what I do like about "I'm Ready." It comes at the point in the record where you need a different feeling. I often like the underdog songs on any album. And to me, there's something satisfying about knowing it will be someone’s favorite song.

WALKING SHADE:
I like where this song comes on the album. Someone I work with told me, "It's that point where you want to put your foot on the accelerator and drive a little faster." Without it, the album tailed off into a blissful thing, and I didn't want that. I wrote this song at the last possible second -- I wasn't sure what I was writing about. Then a week later, this whole thing blew up with this girl, and I had pretty much written what was going to happen but a week before. It's the psychic breakup song. We've made a video for it with all my pasts coming back to haunt me.

SORROWS (IN BLUE):
Now that's a weird one. Besides "All Things Change," I think this song captures what I was trying to say emotionally and sonically with the album. But it's a strange song and I don't even know what I'm trying to say exactly. It's definitely a feeling-based song and not at all intellectualized.

PRETTY PRETTY STAR:
Yes, this is the most Bowiesque title imaginable and that's the point. It was my way of winking and saying that I know what's going on here and I'm not going to pretend I’m not going there. I know David halfway decently, and I've always been open about my love for his work. Then having played with Mike Garson who was the Aladdin Sane pianist and all that stuff, my heart is close to that feeling.

STRAYZ:
This is just one of those things we did and everybody loved it. If I even brought up ever taking it off, there would have been a mutiny -- which was nice. The guys I was working with on this album really made an emotional investment in this music. They really helped me fight for the idea that the best music should be on the album. And I hope that it is.

http://sheknows.com/about/look/5732.htm


(Sé que ya se puso un enlace, pero lo suyo es tenerlo así en post aparte, que seguro que volvemos a él ^^)

[Dead_eyeS]

esos traductores...por donde andan? XD

[Pilla tart]

I liked the other one, but Courtney picked this song.

Nada bueno puede salir de esto

Perhaps it was a bit too Pumpkins for me right now

Oh, sí, baby!

[wasempty]

Comentaría algo si entendiese al menos la mitad xD

[MaDMaX]

Enga cuñao, que te lo pide el pueblo, haz la traduccion!! ^_^

[Zwanling]

ALL THINGS CHANGE: (Todas las cosas cambian)

Este fue el punto de cero del disco. Estubimos probando durante algunos meses, pero con "All Things Change" fue la primera vez que nos encontramos con la sensacion de ir en favor de la musica. Yo sabia que queria cantar algo al final, y cuando estaba conduciendo las palabras "Podemos cambiar el mundo" vinieron a mi cabeza. Pense "Oh tio, lo estas pidiendo" pero hay algo demasiado arriesgado/suicida en alguien que canta algo como eso -- no quieres mirar pero tienes que hacerlo. El sentimiento es autentico, yo siento que quiero cambiar el mundo, pero no en el sentido de Michael Jackson. Existe una sensacion de que esto no va a ser facil.

N.T: perdon por adelantado por lo cutre de la tracuccion, espero que sirva de algo, tratare de traducir alguna mas.

[Anonymous]

Esta es la  que ma me ha llamado la atencion:

THECAMERAEYE:
This is like one of those poems where you vaguely know what it's about, but can't quite explain it. It has something to do with this feeling that love is constantly being perverted. You're constantly asking yourself what true love really is. I've been with women and I thought I found my true love and it's turned out to be the worst, most hurtful thing. You think, is that true love? I've been with woman who are completely devoted and would lie across a railroad track for me, and I think this is kind of boring. So what is true love anyway? Somehow the words and the images in "TheCameraEye" communicate that to me.

THE CAMEREA EYE:

Es como uno de esos poemas que sabes vagamente sobre que tratan, pero no puedes explicar, tiene algo que ver con ese rollo de que el amor siempre se corrompe. Te preguntas constantemente que coño es el verdadero amor. He estado con chicas y pensado que habia encontrado el amor verdadero, y se ha convertido en lo peor, lo mas doloroso del mundo. Y piensas: es eso verdadero amor?? Y he estado con chicas que estaban conpletamente encoñadas conmigo y que harian lo que fuera por mi y me ha parecido aburrido. Asi que que cojones es el verdadero amor?? De alguna forma las imagenes y los sonidos en "The Camera Eye" me dicen eso.

(perdonad, xq esta con mis propias palabras)

ah, y de PRETTY PRETTY STAR: lo de Bowie... mmm... quiero oirla

[Atrida]

Esta es la  que ma me ha llamado la atencion:

THECAMERAEYE:
This is like one of those poems where you vaguely know what it's about, but can't quite explain it. It has something to do with this feeling that love is constantly being perverted. You're constantly asking yourself what true love really is. I've been with women and I thought I found my true love and it's turned out to be the worst, most hurtful thing. You think, is that true love? I've been with woman who are completely devoted and would lie across a railroad track for me, and I think this is kind of boring. So what is true love anyway? Somehow the words and the images in "TheCameraEye" communicate that to me.

THE CAMEREA EYE:

Es como uno de esos poemas que sabes vagamente sobre que tratan, pero no puedes explicar, tiene algo que ver con ese rollo de que el amor siempre se corrompe. Te preguntas constantemente que coño es el verdadero amor. He estado con chicas y pensado que habia encontrado el amor verdadero, y se ha convertido en lo peor, lo mas doloroso del mundo. Y piensas: es eso verdadero amor?? Y he estado con chicas que estaban conpletamente encoñadas conmigo y que harian lo que fuera por mi y me ha parecido aburrido. Asi que que cojones es el verdadero amor?? De alguna forma las imagenes y los sonidos en "The Camera Eye" me dicen eso.

(perdonad, xq esta con mis propias palabras)

ah, y de PRETTY PRETTY STAR: lo de Bowie... mmm... quiero oirla

Soy yo.. esq ultimamente tengo problemas para registrarme con firefox..

He elegido esta xq siento exactamente lo mismo q siente Billy.. algunas veces..

[Mizar]

Estaba aquí traduciendo un muermazo y mientras entreteniéndome y he visto esto y he dicho... NO PUEDO RESISTIIRMEE con voz de phoebe o algo así. Así que voy he cogido las cuatro del EP que supongo que como las hemos oído es de las que más curiosidad tenemos...

MINA LOY (M.O.H):

Los tíos con los que trabajé en el disco etiquetaron los ambientes que tenía pensado. Originalmente, la canción se llamaba "my old heart" pero en el archivo abreviaron el nombre y se quedó como "M.O.H.". Al principio no estaba seguro de las letras, porque me parecía que estaba volviendo a uno de mis viejos temas, la ira. Pero expresaba mi sentimiento general de paranoia. Vivo en Chicago y amo tanto a mi ciudad... la amo como a una mujer. Estaba pensando cómo me sentiría si alguien dejara caer una bomba y destruyera este lugar que tanto amo. No me refiero a una amenaza soviética, sino a que alguien puede poner el dedo en un mapa y destruir algo hermoso porque sí.

A100:

Simplemente es la típica canción de amor tipo Dios es disco (o la música disco es dios? xD). Soy de Chicago, la ciudad del house. Hemos crecido en un lugar donde para mucha gente lo más importante es el ritmo del bombo. Por eso New Order triunfaron tanto en Chicago, se entendió ese rollo. Todavía hay algo en mí que resuena a ese gran momento techno. Aun con todo esto, la canción es medio sarcástica. Me puse un poco irónico.

NOW (AND THEN):

Está canción es realmente triste, una extraña historia de soledad adolescente que la verdad es que nunca me ha ocurrido. Habla sobre querer ser herido y consumido por alguien. Al principio la canción tenía un rollo distinto y yo no estaba seguro. Quizá sonaba demasiado pumpkins para mí en este momento. Luego Bon me dijo que le encantaba esta canción, y que era lo mejor con lo que habíamos trabajado. Dijo "¿te importa si la destrozo un poco para ti?" Así que me aparté, y cuando volví ví que lo que había hecho Bon era precioso. Luego me acabó gustando la canción entera.

WALKING SHADE:

Me gusta donde va esta canción en el disco. Alguien con el que trabajé me dijo: "es ese punto donde quieres poner el pie en el acelerador y conducir un poco más rapido". Sin ella, el disco se reduciría a algo demasiado feliz, y no quería eso. Dejé esta canción para el último minuto, no estaba seguro de lo que estaba escribiendo. Luego, una semana más tarde, todo se fue a la mierda con una chica y ya había escrito una semana antes todo lo que iba a pasar. Es la canción de una separación psíquica. En el vídeo que hemos hecho aparece todo mi pasado que vuelve para perseguirme.

[darkestfears]

Grrrracias!

Joer me gusta mucho más el comentario de now and then que la canción en sí xD lo mismo con más escuchas me acaba gustando y todo ^^

[Zwanling]

Si le das algunas escuchas a Now and Then mejora un monton, merece bastante la pena, aunque sigue siendo la que menos me gusta.

[MaDMaX]

Para mi Now And Then de momento sigue siendo infumable :S

[Raham]

Estoy de acuerdo con zwaling. Now and then va ganando en cada escucha

[Dagger]

Now and then temón.
Now and then temón.
Now and then temón.
Now and then temón.
Now and then temón.


Y los de la spfc no han puesto la letra aún, ña.


(mizzi, si te animas y vas traduciendo poco a poco, lo subo a la web. ^^ o bien nos repartimos el curro entre unos cuantos, loqsea)

[Mizar]

A qué te refieres con el curro? Porque de esto sólo quedan 3 ó 4... y por supuesto que me animo, cualquier cosa antes que hacer algo productivo ^^