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    Showing posts with label Biography. Show all posts
    Showing posts with label Biography. Show all posts

    Tuesday, 9 March 2010

    Biography 2010




    KEANE are:

    Tom Chaplin – vocals, etc.
    Richard Hughes – drums, etc.
    Tim Rice-Oxley – piano, etc.

    Biography 2010

    Not many British bands these days have more than one million-selling album, let alone three. Fewer still manage to replicate - and maintain - that success outside the UK. And only a tiny number are able to continually develop their sound as their career progresses. But, in the last decade, Keane have achieved all of those things and a whole lot more. After selling 10 million copies of their three award-winning albums, it's no exaggeration to say that Keane are firmly established as one of the world's most successful, innovative and cherished bands. And, as far as they're concerned, they're only just getting started.

    The three members of Keane - Tom Chaplin, Tim Rice-Oxley and Richard Hughes - began making music together as teenagers in sleepy East Sussex. But it was only after years of energy-sapping dead ends that things started to go right for them. After a chance gig sighting in 2003, Fierce Panda founder Simon Williams offered the band a limited edition single release. That quickly led to a deal with Island Records, which led to Hopes And Fears, Keane's brilliant 2004 debut album. Driven by literate, heart-tugging anthems like Somewhere Only We Know, Everybody's Changing and Bedshaped, the record catapulted Keane to global success, selling almost six million copies and picking up countless awards (indeed, even in 2010 it has been nominated for the Best British Album of 30 Years award at the Brits).

    In 2006, Keane released their second album, Under The Iron Sea. Compared to their debut, it was a dark, brooding affair, powered by the hurt and frustration of a band stretched to breaking point by two years of constant touring. But, once again, at its core were Tim Rice-Oxley's majestic melodies and Tom Chaplin's rich, powerful voice. The incredible response to the record at the band's increasingly large live shows was, ultimately, to reinvigorate the friendships they've shared since primary school.

    Keane's third album, Perfect Symmetry, followed in 2008, once again marking a genuinely impressive stylistic shift. Recorded in Berlin, Paris and London it was the first Keane album to feature musical saw, saxophone and vocals recorded through a drum. In other words, it was the sound of a band positively revelling in the joys of making music again. Its lead single, Spiralling, was a bouncing, Bowie-tinged, synth-pop belter, which won the Q Award for Best Track of the Year before the album itself was even released (once it was, Q's readers soon voted that Album of the Year too.)

    The band toured Perfect Symmetry around the world, playing to packed arenas in 28 countries, from Russia to Australia, Colombia to South Korea and Lebanon to Switzerland. When they had gaps in their schedule, they would head into studios to work on tracks - not with any particular purpose in mind, just because it's what they enjoy doing most. "It's incredibly refreshing in the middle of a long tour to go into a studio and create something," says Tim Rice-Oxley. "It's what we ended up doing on most of our days off."

    Those tracks would eventually come to form a new eight track EP, Night Train, which will be released globally on 10th May 2010. Taking its title from the band's favoured mode of transport during the tour (the Moscow to St Petersburg train was particularly memorable), it demonstrates yet another sure-footed sonic swerve. Highlights include Keane's two genre-busting collaborations with fast-rising Somali/Canadian rapper K'Naan, who they met through a mutual appreciation (Keane are surprisingly popular in hip hop circles, with Kanye West another big fan). Over three days in a London studio, Keane and K'Naan created the irrepressible Stop For A Minute and the Rocky-inspired Looking Back. "I think those tracks show us in a completely different light," says Chaplin.

    Another definite standout on Night Train is Ishin Denshin (You've Got To Help Yourself), an addictive electro-pop cover of the Yellow Magic Orchestra song which features Japanese baile funk MC Tigarah. "That song pretty much exemplifies the way we did the record," explains Rice-Oxley. "I worked on the original idea on a plane, Richard recorded the drums in DC, Tom did his vocals in Copenhagen, Tigarah did hers in LA and we finished it off on the tour bus. And I'm hugely pleased with the end result."

    Night Train also includes the gorgeous, 80s-flavoured Your Love, which hangs around a rare lead vocal from Rice-Oxley, a man more renowned for his Ivor Novello-winning song writing than his singing. "All of these songs were recorded with a spirit of 'Why not?’" he says. "We didn't labour over making this record, or worry about it, we just enjoyed experimenting with things."

    The result is another Keane record that's surprising, challenging and imaginative - but still built around tunes you'll be whistling for weeks. When Keane first got together all those years ago, three of the bands they most admired were the Beatles, Radiohead and Blur. What made all of those acts special was that although nobody could ever predict what they'd do next, you knew it would be worth hearing. With the release of Night Train, that's an exclusive club to which Keane have surely now gained membership.

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    Biografía 2010

    Dejando de lado contadas excepciones, no hay en la actualidad muchas bandas británicas que hayan editado más de un disco y que además, vendan más de un millón de copias de cada uno de esos discos. En el caso de Keane, llevan tres. Aún menos son los que repiten y mantienen ese éxito fuera de Gran Bretaña. Y sólo un reducido número es capaz de desarrollar su sonido mientras su carrera progresa. Pero, en la última década, Keane han logrado todo lo anterior y mucho más. Tras vender 10 millones de copias de sus tres álbumes premiados, no es una exageración decir que Keane se han establecido como una de las bandas de mayor éxito mundial, más queridas e innovadoras. Y, en lo que a ellos concierne, sólo acaban de empezar.

    Los tres miembros de Keane - Tom Chaplin, Tim Rice-Oxley y Richard Hughes – comenzaron a hacer música siendo adolescentes en el adormilado East Sussex. Sólo tras años de recorrer calles sin salida derramando energía las cosas empezaron a marchar bien. En 2003, el fundador de Fierce Panda, Simon Williams, tras verles en concierto les ofreció editar una tirada limitada de un sencillo. Esto les llevó rápidamente a firmar con Island Records, y a continuación, Hopes And Fears, el brillante álbum de debut de Keane fue editado en 2004. El álbum plagado de himnos literarios y estremecedores como Somewhere Only We Know, Everybody's Changing y Bedshaped, catapultó a Keane al éxito global, vendiendo casi seis millones de copias y logrando innumerable galardones (incluso en 2010 fue nominado como Mejor Álbum Británico de los últimos 30 Años en esta edición de los Premios Brits).

    En 2006 Keane editaron su segundo trabajo, Under The Iron Sea. Comparado con su debut era oscuro y denso, destilaba el dolor y la frustración de una banda que estaba al límite tras dos años de continua gira, casi a punto de separarse. Pero de nuevo en el núcleo duro del disco se encontraban las majestuosas melodías de Tim Rice-Oxley y la poderosa y rica voz de Tom Chaplin. La increíble reacción que provocó el álbum en los conciertos cada vez mayores de la banda, resultó en última instancia, tener un efecto revitalizante en la relación de amistad que compartían los miembros de Keane desde la escuela primaria.

    El tercer trabajo de Keane, Perfect Symmetry, se publicó en 2008, y marcó de nuevo un cambio de estilo genuino e impresionante. Grabado en Berlín, Paris y Londres fue el primer álbum de Keane donde utilizaron una sierra musical, un saxo y voces grabadas a través de una batería. En otras palabras, el sonido de una banda positiva que se deleitaba en el disfrute de hacer música de nuevo. Si primer, Spiralling, era un vivaz tema con sonido de sintetizadores pop tipo Bowie, que ganó el Premio Q a Mejor Tema del Año antes de que el álbum se editara (cuando salió a la venta los lectores de la revista Q lo votaron también Mejor álbum del Año).

    La banda estuvo de gira con Perfect Symmetry por todo el mundo, actuando en estadios atiborrados de 28 países desde Rusia a Australia, Colombia o Corea del Sur, Líbano y Suiza. Cuando disponían de huecos en su agenda se dirigían a estudios de grabación para trabajar en temas – sin ninguna intención en particular en mente, sólo por el placer de hacerlo. "Resulta increíblemente refrescante poder, en medio de una larga gira, entrar en un estudio y crear algo," dice Tim Rice-Oxley. "Es lo que acabamos haciendo la mayoría de nuestros días libres."

    Esos nuevos temas han acabado dando forma a un nuevo EP de ocho canciones, Night Train, que se editará a nivel mundial el 10 de Mayo de 2010. Toma su título de la forma preferida de transporte utilizada por la banda durante la gira (el tren de Moscú a San Petersburgo fue especialmente memorable), y demuestra además ser un nuevo viraje sonoro dado con muy buen pie. Los momentos álgidos incluyen dos colaboraciones rompedoras de géneros con el rapero Somalí/Canadiense en alza K'Naan, a quien conocieron a través del mutuo respeto que sienten ambos (Keane son sorprendentemente muy populares en los círculos del hip hop, Kanye West es otro gran fan de Keane). Durante tres días en un estudio de Londres, Keane y K'Naan crearon el incontenible tema Stop For A Minute y la canción inspirada en Rocky Looking Back. "Pienso que esos temas nos muestran con una luz totalmente nueva," dice Chaplin.

    Otra canción que sobresale en Night Train es Ishin Denshin (You've Got To Help Yourself), una versión electro-pop adictiva de la canción de Yellow Magic Orchestra donde interviene la MC de Baile Funk Japonés Tigarah. "Esta canción es un vivo ejemplo de lo que hemos hecho con el disco," explica Rice-Oxley. "Yo trabajaba en una idea original en el avión, Richard grababa la batería en DC, Tom las voces en Copenhague, Tigarah sus voces en Los Ángeles y terminábamos el tema en el autobús de la gira. Estoy muy satisfecho con el resultado final."

    Night Train también incluye la preciosa canción de sabor ochentero Your Love, donde hay una rara interpretación vocal de Rice-Oxley, más conocido por sus composiciones galardonadas con Premios Ivor Novello que por ser cantante. "Todas las canciones se grabaron bajo el lema '¿Por qué no?’" dice. "No sentimos que grabar este disco fuese un “trabajo” ni nos preocupó hacerlo, nos divertimos experimentando."

    El resultado es otra grabación sorprendente, imaginativa y desafiante de Keane aunque puedas estar silbando las melodías de sus canciones durante semanas. Cuando Keane se unieron por primera vez hace todos estos años, las tres bandas que más admiraban eran Beatles, Radiohead y Blur. Lo que les hacía especiales es que, aunque nadie pudiese predecir lo que harían a continuación, sí podías estar seguro de que valdría la pena escucharlo. Con la edición de Night Train, Keane se han convertido con toda seguridad en miembros de ese exclusivo club.


    Photos: Takay

    NEW PHOTOS, NEW BIOGRAPHY


    Following yesterday's artwork announcement, we've just uploaded three brand new pictures to km.com, as well as the brand new band biog. The pictures were all taken by Takay.

    Head to the BAND section to check out the pictures in all their glory (click for full-size versions) and to read the new biog.

    You'll notice if you scroll beneath the English biog that we are, for the first time, offering a version Spanish language translation, in recognition of Keane's enormous Spanish-speaking fanbase. Let us know what you think - it's something we might be doing a bit more of going forward...

    Tuesday, 23 September 2008

    New Biography 2008





    Keane are back. After over 8 million sales of Hopes And Fears (2004) and Under The Iron Sea (2006) combined, sold-out arena tours, awards spanning Ivor Novellos to BRITs, plus an undeniable collection of hits including Is It Any Wonder?, Everybody’s Changing, Crystal Ball and Somewhere Only We Know, one of Britain’s best-loved bands are about to surprise and thrill all over again.

    Avowed believers in never retreading old ground, Tom Chaplin, Tim Rice-Oxley and Richard Hughes return with Perfect Symmetry, a Technicolor explosion of stellar pop songs and pure, unashamed energy; the joy in which is audible in every finger-click and life-affirming chorus. As different as piano-helmed classic debut Hopes And Fears was from its darker cousin Under The Iron Sea, Perfect Symmetry finds Keane at the height of their powers. Confirming Rice-Oxley’s position as one of the finest British songwriters to emerge this decade, the 11-song set sees Keane throwing any last vestiges of caution to the wind and simply letting the music take them where it will. The result is a thrillingly bold album that’s as pleasurable to listen to as it was to make.

    While millions of paid-up Keane fans will immediately recognise Perfect Symmetry as a body of work that could have come from no other group, others are likely to be knocked sideways by their various leaps into uncharted territory. Indeed, after hearing download-record-breaking first taste Spiralling, it’s possible you might not have even recognised it the work of “the Somewhere Only We Know band”. Certainly, Perfect Symmetry is the first Keane album to feature musical saw, saxophone, vocals recorded through a drum; studio sessions in Berlin, Paris and London; their first self produced album, with input from esteemed producers Jon Brion (Rufus Wainwright; Kanye West) and Stuart Price (Madonna; Les Rhythmes Digitales) and the sound of three men yelping a delighted ‘Oooh!’ as virtually the first thing you hear.

    “We’ve always said we want to challenge ourselves,” says Hughes. “Most bands, when they release an album, always say they’ve pushed themselves. But we’re all music lovers and we sit there and read these things and think ‘Great, can’t wait to hear it!’ and then you put it on and you think ‘Oh. Hang on a minute…’”

    “There’s nothing that our record company would have loved more than for us to have delivered Hopes And Fears three times,” he continues. “But we’ve already done one, and one’s enough.”

    “I think by a million miles it’s the best thing we’ve put together,” says Chaplin. “I can’t wait for people to hear it.”

    ***

    Keane wound up the Under The Iron Sea tour on August 5, 2007. A couple of charity gigs aside, they then took time out for family, friends and a well-earned breather, not reconvening again until mid-January 2008. It was to prove the right decision. “With the second record we went straight off the road into the studio when we really needed a break and that sowed the seeds for a lot of problems which have been quite well-documented. We learned from that this time.” says Hughes.

    Pooling the first batch of ideas in their ‘Barn’ studio in southern England (somewhere that’s provided a bolthole for the last few years) Keane then decamped to Paris in mid-February, having booked a couple of days recording time with Jon Brion, the maverick producer as regarded for his soundtrack work as that with US pop acts. Though Perfect Symmetry would end up being almost entirely self-produced, Brion’s input in that short time proved revelatory. “We looked at hip-hop records where they have multiple producers and you never get that with pop or rock records,” says Hughes. “That was part of the thinking there, so Jon came to Paris to work with us for three days before setting off to work on the soundtrack for the new Charlie Kaufman movie.”

    “Jon coming onboard was a massive influence,” says Rice-Oxley. “We were in a good place already but he gave us the confidence of not thinking; of not self-editing. We were saying that the records we love are the records that, as a musician, you think ‘God, it must have been amazing to be at that session; it must have been really fun’ and his theory was you only get that by just going for it. Not worrying what people are going to think, or even what you’re going to think! Let’s face it: the worst that can happen is that it’s an idea that doesn’t work.” Consequently, Brion and Keane soon found themselves rooting around in the back of the studio for obtuse percussion instruments and recording vocals in all manner of peculiar ways. You can hear the results on the stellar You Haven’t Told Me Anything, one of the most musically ‘out there’ tracks the band have produced to date.

    From then it was back to the UK for a couple of weeks before decamping to Teldex Studios in Berlin. It’s a lengthy journey… if you undertake it by train. “We all got on the overnight train and that journey becomes part of the experience,” says Hughes. “You get to go to the bar and just hang out. It was really, really enjoyable, fun and different. We’re desperate to make sure we get out there again as soon as we can, by train.”

    The city that had previously inspired them so much on tour – not to say produced such landmark albums in Keane’s formative years as U2’s Achtung Baby and Bowie’s Low – provided another vital cog in the process. Teldex, a massive former ballroom, would help root Perfect Symmetry with its sense of tragic grandeur. It was during this initial visit that Rice-Oxley wrote standout first single proper The Lovers Are Losing and Stuart Price lent his deft production hands for three days, most audibly on Again And Again. A very different worker to Brion, Price proved equally inspirational in underlining that when it comes to experimenting in the studio, basically, there are no wrong answers.

    Further songs fell into place between The Barn, Berlin and London’s Olympic Studios over the next few months, with ideas coming so thick and fast that the song Pretend That You’re Alone was being written and recorded in one studio while other album tracks were being mixed in the next.

    The result is a huge record made up of songs in the tradition of happy-sad classic British bands from The Beatles onwards. Or, as Hughes has it, “songs that are not that happy but that sound happy.” Pop music that’s anything but throwaway.

    Some have already detected an Eighties influence on parts of Perfect Symmetry. If that’s the case, Keane say, it’s in the spirit of adventure, boldness and Big Pop of those times, rather than any attempt at retro pastiche.

    “The boldness of that time is something that’s really frowned upon today,” notes Rice-Oxley. “We’re living in a time when it’s cool to be ‘Eighties’ in a retro way, but I don’t think that spirit and unashamed energy of great 1980s pop is particularly prevalent today. If this record sounds like that, it’s probably because I associate some of those songs – Pet Shop Boys, Salt N’ Peppa, Mel & Kim – with a fun, innocent time. I absolutely do not care what is considered to be fashionable or cool or tasteful – it’s much more about following our own instincts.”

    ***

    Great hooks, big choruses and massive middle eights come as a factory setting with Keane, of course, something that’s meant that, previously, Rice-Oxley’s lyrics have sometimes perhaps not been given the attention they deserve. That’s unlikely to prove the case with Perfect Symmetry, which features his most direct, unambiguous and, yes, best words to date. Whether on train-of-thought, Pygmalion-inspired Spiralling, broadside on fame-for-fame’s-sake Better Than This or the title track Perfect Symmetry which brilliantly takes as its theme the futile distractions of the human race (“I think it might be the best song I’ve ever written” says Rice-Oxley, here Big Ideas are never sacrificed on the altar of great tunes.

    “I love Better Than This,” agrees Chaplin. “Sonically it’s a big departure, but lyrically, being about the state of ‘celebrity culture’… people see it as such an important thing and pin so much hope on it. Certainly, in my opinion, the fame and celebrity side of things is something I find hard to reconcile. I’d much rather it was just about the music; the reason we got into the band in the first place. It wasn’t to get rich or become famous or to get girls – it was to be out there singing. That magic connection between you and a crowd of people who have turned up to pour everything out, like you have… that coming together is the biggest buzz in my life.”

    ***

    So that’s Keane in 2008: the big gigs, big chart success and big awards we know about; now here’s the album of their career. A big, bold, shiny pop monster that’s as likely to appeal to hearts and minds as it is to feet.

    “Because we nearly lost it all, we nearly lost the band and we could have gone our separate ways,” says Chaplin, “we had this reinvention as people. You know, ‘We might not have this, so we might as well enjoy it’. That affected everything that we did with this album.”

    No wonder it starts with an ‘Oooh!’

    KEANE are:

    Tom Chaplin – vocals, etc.
    Richard Hughes – drums, etc.
    Tim Rice-Oxley – piano, etc.

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    Photo credits:
    Left shot: Alex Lake
    Middle and right shots: Søren Solkær Starbird

    Wednesday, 3 September 2008

    Biography




    Tom Chaplin - vocals
    Richard Hughes - drums
    Tim Rice-Oxley - keyboards

    Keane are a band from Battle in Sussex, England. Their Number 1 debut album, Hopes And Fears, was released in May 2004. Spurred on by hits like Somewhere Only We Know, Everybody's Changing and This Is The Last Time, it went on to sell 5.5m copies worldwide, garnering the band two Brit Awards and a Grammy nomination for Best New Artist. Keane were named Songwriters Of The Year at the Ivor Novello awards in 2005.

    The band's second album, Under The Iron Sea, was released in June 2006 and also went straight to Number 1 in the UK album charts, debuting at Number 4 in the US Billboard charts. It has so far sold over 2.5 million copies worldwide. The trio were nominated for a second Grammy in 2007 for their hit single Is It Any Wonder?.

    Throughout 2007, Keane toured the world, playing sold out shows across Europe, the USA and Latin America - including headline gigs to 50,000 Keane fans in Buenos Aires, 15,000 in Amsterdam and 18,000 at London's O2 Arena.

    In May 2008, both of Keane's albums were voted by the readers of Q Magazine as being amongst the Best British Albums of all-time, with Under The Iron Sea at number 8, Hopes And Fears at number 13 (only Keane, Radiohead, the Beatles and Oasis had more than one album in the Top 20).

    The band have spent the first half of 2008 in Paris, Berlin and the depths of the English countryside, recording their highly-anticipated third album.

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    Photo credits:
    Left shot: Alex Lake
    Middle and right shots: Søren Solkær Starbird