Foto-© Ph. Lebruman
Letzte Woche veröffentlichte Kate Stables, alias This Is The Kit, mit Coming To Get You Nowhere einen neuen Song aus ihrem kommenden Album Off Off On, das am 23. Oktober via Rough Trade Records erscheinen wird. Und dieser zeigt wie sehr das Songgut der Wahl-Pariserin mittlerweile aus der ursprünglichen Folk-Schublade herausgewachsen ist und wie groß ihre Songs, angereichert mit anderen Genre-Einflüssen, sein können. Passend dazu haben wir Kate gebeten uns mehr zu den Hintergründen des Songs zu schreiben – This Is The Kit und ihr Song Coming To Get You Nowhere in unserer about the song-Reihe!
Coming to get you nowhere was a song I wrote in a basement in Pantin (just in the outskirts of Paris) I was sharing a tiny practise space with some friends and would go there two days a week to work on my own on writing new songs. This song came about when I was just messing about and singing in “yogurt” as the French call it. It turned into an exercise of making up words as I went along and not worrying too much about the chords. It was more of an experiment in messing about as song writing and I wasn’t expecting it to become a song on the actual album.
The lyrics ended up being about getting stuck and how to get free again. And so for the video it seemed like a fitting song to use this footage I had of our friend’s car getting stuck during rehearsals in the welsh country side before we recorded the album. Watching it makes me laugh every time. I like how it looks like it’s a really badly dubbed movie. Our mouths nearly sync up with the words of the song but not quite.
A few other topics it touches on are my dislike of uninvited reverb on vocals at gigs. Especially if the vocalist is female. It’s such a rude assumption to just decide that all women want reverb on their voices. Really annoys me. Let me see what else is in this song… The nervous energy that people put out into a room or a shared space. most times unconsciously. But it really effects everyone around them and i think it’s important to be careful of things like that and how much “noise” we’re making with our energy/vibe. Thinking out loud about things like that….etc.
It was a difficult one to work on in the studio as everything we added just kind of made it sound like a 70’s police cop TV show theme song. Which was hilarious at the time but when it came to making it fit on the album it took quite a bit of work to get it to where I felt happy with and to where I didn’t hear imaginary retro police sirens every time the song started.
The horns on this track were played by Pete Judge on trumpet and flugel horn (get the blessing, three cane wale, eyebrow…) Lorenzo Prati on tenor sax (the evil usses, sulk and bones, count bobo….) and Taz Mains on bassoon and Sam Hayfield on trombone from the Bristol Fantasy Orchestra. It was a fun session with Josh directing them as we went. And then later on when we sent the track to our friend Adam Schatz in New York (who has an incredible band called Landlady) and he recorded some synth parts and tenor sax additions. It’s him at the intro of the song playing the repeated layered sax pattern.
The small voice towards the end saying “turn it turn it down” in the back ground was an accident. We didn’t know how it got there or why it popped up on it’s own. I decided to leave it in to see if Josh noticed or had an opinion about it and then he decided to leave it in. maybe because he thought I did it on purpose? Who knows? ha ha!
