Member Since: 6/1/2011
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Details on Lorde/The Weeknd/Miguel x Disclosure collabs
Quote:
"Nocturnal" [ft. the Weeknd]
Pitchfork: The opening track feels like a statement in that it sounds more like big pop than house. How did you end up working with the Weeknd?
Guy Lawrence: We’ve been fans of each other’s music for some time. We didn’t really know what he was like as a guy, but he turned out to be so safe and cool and chill—but not arrogant in any way. We wrote that song in Jungle Studios in New York, which is probably the coolest studio that we’ve ever been to. It has this panoramic view of Manhattan, so that informed the vibe.
Pitchfork: There’s a synth part in that song that sounds like a nod to Frankie Knuckles’ house classic “Your Love”?
GL: That’s a tribute to Frankie. We started making that beat around the time he died and wanted to put a little bit of Frankie into this album—so we thought we’d rip him off! [laughs] The “Your Love” synth has been used in many songs, but that’s basically how the verse started. We didn’t think it would turn out to be a six-minute, 45-second track. It’s the longest song we’ve ever made, but when you listen to it, it all flows. To put it first was a bit of a bold decision, but it sets the tone for the record so nicely. It’s the exact right vibe to establish what’s changed from the first album to this album: It’s more R&B, it’s slower, and it’s more about the songwriting rather than the club.
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Quote:
"Magnets" [ft. Lorde]
Pitchfork: If I didn’t know that Lorde sang this song I might not have guessed it. This track feels very diva-ish. What were you going for when you got into the studio?
HL: Well, we performed with her at the BRIT Awards and knew she was a really good singer. And she’s really nice as well, which is cool. When we had nearly finished the record, we got this call from her saying that she was in London and wanted to get in the studio, so we went in not really expecting anything. It was a quick process. That beat is more like a hip-hop beat than anything else, and we all liked it, so we just started writing—we didn’t have a board meeting at the start, like, “We’re gonna do this.”
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Quote:
"Good Intentions" [ft. Miguel]
Pitchfork: When you met Miguel were you like, “All right, we gotta bring the sexy with this dude?”
GL: That he’s a sex symbol is probably not the most important thing about Miguel to us. It was more about the tone of his voice and his music. For sure, he’s a born pop star, like Sam [Smith]. If you saw Miguel walking down the street and he wasn’t already famous, you’d be like, “Why the hell aren’t you famous?” He was great to work, very proactive. He’s a singer, but he’s a really talented artist and songwriter as well. He was really involved, even in the recording of his vocals—he’d pan all the vocals to where he wanted them in the mix. I was like, “This guy knows what he’s doing.”
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TRACK BY TRACK BREAKDOWN
http://pitchfork.com/features/interv...-their-new-lp/
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