Interviuri

Supergrupul Good Tiger sub lupă (interviu)

**Romanian Version (English Below)**

Un grup muzical care trebuie ne treacă pe la auz cel puţin o dată  şi uimeşte nu doar prin line-up-ul extraordinar (fostul vocal TesseracT, foştii chitarişti The Safety Fire, fostul toboşar The Faceless şi fostul bassist pentru turneu al Architects), dar şi prin compoziţiile, pe cât de experimentale, pe atât de captivante armonic şi liric. Primul lor album, „A Head Full Of Moonlight” a intrat cu rapiditate în playlist-ul personal şi a rămas acolo ca fiind unul dintre cele mai bune din acea vreme şi chiar până în zilele noastre. Moderni dar calculaţi, îndrăzneţi dar melodici, tehnici dar emoţionanţi, cei de la Good Tiger au găsit reţeta perfectă a genului. Următorul material discografic nu face excepţie. Primele piese lansate până acum demonstrează o mai mare facilitate în îmbinarea de influenţe muzicale şi o tematică cu atât mai uşor de recunoscut şi însuşit de către ascultător. Despre acesta şi cum s-au legat toate vorbim cu Good Tiger.

Primul vostru album a fost extraordinar. Nicio piesă rea pe el. Care a fost procesul înregistrării sale?

Good Tiger: În primul rând, mulţumim! Ne bucurăm ţi-a plăcut albumul. A fost cu siguranţă un amalgam de idei care s-au lipit într-un scurt timp şi explorăm stiluri diferite şi sunete pe care voiam le încorporăm în Good Tiger. Avem o sumedenie de influenţe care ne inspiră, aşa ne-am permis explorăm.

Cu ce credeţi ar trebui rămână ascultătorul în urma ascultării sale?

Good Tiger: Orice rezonează cu el şi îi vorbeşte. Ştim din propriile experienţe interacţionăm cu muzica aşa cum am face-o cu un prieten. Fiecare persoană are un set unic de experienţe, care va modifica ce ascultă, şi când ascultă. Sperăm oamenii îi vor da o şansă.

Cum s-a format supergrupul? Care este povestea din spatele cortinei?

Good Tiger: Cred trebuie spunem nu ne considerăm un supergrup. Apreciem lumea ne consideră aşa, dar noi ne vedem nişte prieteni care s-au reunit facă muzică. Eu, Derya, şi Jo, celălalt chitarist, am cântat în The Safety Fire. Odată ce trupa s-a destrămat am simţit vrem mai facem muzică aşa am decis continuăm şi am luat legătura cu prieteni cu care am fost în turneu sau pe care îi ştiam, iar din fericire cei cu care am vorbit au fost şi primii interesaţi. Din fericire totul s-a legat repede şi am început lucrăm la un album în câteva luni.

„We Will All Be Gone” anunţă deja un alt album extraordinar. De ce aţi ales „Blueshift” şi „The Devil Thinks I’m Sinking” drept teasere pentru el?

Good Tiger: A fost greu pentru noi hotărâm dar am mers pe instinct. „Devil” este prima piesă aşa a venit natural decizia. Albumul e destul de variat, aşa „Blueshift” arată asta.

Care este semnificaţia titlului?

Good Tiger: Are legătură cu ceva despre care tot discutam şi când „We Will All Be Gone” a fost pus pe masă a rezonat cu noi şi am simţit traducea bine vibe-ul şi emoţia albumului. Din punct de vedere liric, câteva piese de pe album se ocupă de teme existenţiale şi deşi pare negativ, credem are o privire pozitivă asupra fragilităţii vieţii. Bucuraţi de ea cât timp puteţi.

Va fi un album concept?

Good Tiger: Nu este chiar un album concept, dar va avea câteva teme care se leagă, deşi nu este o poveste neapărat.

Care este prima piesă compusă?

Good Tiger: Prima piesă a fost „Float on”, iar de acolo nu mai ştim ordinea exactă, dar ne-am dat seama de la început va fi un album foarte diferit de primul.

A fost ceva ce aţi vrut schimbaţi de data asta?

Good Tiger: Nu chiar. Ca oameni şi muzicieni vrem evoluăm constant, normal, dar cred ar fi dificil presupunem sau prezicem ce am face cu muzica până când nu o scriem.

**English Version**

A musical supergroup, as I like to call them, that should not pass beside us lightly and amazes not only by its extraordinary line-up (ex-Tesseract vocalist Elliot Coleman, ex-The Safety Fire guitarists Derya Nagle and Joaquin Ardiles, ex-The Faceless drummer Alex Rüdinger, and bassist Morgan Sinclair, ex-touring guitarist for Architects), but by its compositions, that are as experimental and as musically and lirically captivating as it gets. Their first record, „A Head Full Of Moonlight”, got into my personal playlist immediately and remained there to these days as one of the best at that time and not only. Modern yet reflective, fearless yet melodic, technical yet emotional, the band has found the perfect recipe of the genre. Their next discographic material is no exception. The first released tracks showcase an even greater facility in intertwining diverse musical influences and a theme that it’s easy to assimilate and relate to. About it and how everything came together we are speaking with Good Tiger.

Your first record was a smash hit. Not one single bad song in there. What was the flow for recording it?

Good Tiger: First off, thanks! Glad you enjoyed our first album. It was definitely an amalgamation of ideas that came together in a short space of time, and we were exploring the different styles and sounds we wanted to incorporate into Good Tiger. We have a large pool of influences that we draw from, so it allowed for a lot of exploration.

What would you say the listener should take from it?

Good Tiger: Whatever resonates and relates to them. I know from my own personal experiences listening to music I seldomly interact with it in the same way as a friend. Each person has a unique set of experiences, and that will inform and change what you are hearing, and when you hear it. I hope people enjoy it and give it a chance.

How was this supergroup born? What’s the story behind the scenes?

Good Tiger: I think it’s worth saying, we definitely don’t consider ourselves a supergroup, we appreciate people saying it, but we very much consider it friends coming together to make music. Myself and Jo, the other guitarist, both played in a band called The Safety Fire. Once that band came to end, we both felt we still wanted to do music so decided to continue on and reach out to friends we had made on tour and at home and luckily the first people we spoke with were interested in what we were doing. Thankfully it all came together rather quickly and we were working on the album in a matter of months.

„We Will All Be Gone” already sounds like it’s gonna be another awesome record. Why did you choose „Blueshift” and „The Devil Thinks I’m Sinking” as teasers for it?

Good Tiger: It was really difficult for us to decide which tracks to release first but ultimately went with our gut. ‘Devil’ is the first track on the album, so it seemed like a natural choice. The album is quite varied as well, so with ‘Blueshift’ it helps show the scope of what we have done.

What’s the meaning behind the record’s title?

Good Tiger: It was something we spoke about for sometime, and when ‘We Will All Be Gone’ was put forward it resonated with us and felt it encapsulated the vibe and mood of the album we had just made. Lyrically several songs on the album deal with existential themes and while it may seem to be somewhat negative it is most definitely a positive look at the transience and fragility of life. Enjoy it while you can.

Will this be a concept album?

Good Tiger: It isn’t a concept album per say, but there definitely are recurring themes lyrically, but not a unifying story tying it all together.

What was the first song that started the whole writing process for the record?

Good Tiger: The first track we worked on was a track called ‘Float On’, from there I’m not entirely sure what the order was, but we could definitely tell from the outset it was going to be a very different album to our first.

Was there something in particular that you wanted to change for „We Will All Be Gone” compared to the first album?

Good Tiger: Not really. As people and musicians we are all constantly evolving, so I think it would be difficult to assume or predict what you are trying to do with your music until the moment comes.

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