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PostPosted: Sat Jan 17, 2015 5:14 pm 
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derbyshirepaul wrote:
Then a discussion - how would the falsetto hold up against the "Russian gospel" choir? (What?!) Or against the "guitar orchestra? (Come again??!)

Interesting, to say the least. Great writing, too. You're so lucky!! And which guitar Polly was preparing to play in this orchestra - acoustic or electric?


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PostPosted: Sat Jan 17, 2015 5:30 pm 
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"I caught PJ Harvey and band when they were recording a violin part of a song called "All Near The Memorials To Vietnam And Lincoln". They kept looping a small part of the song whilst she and another bloke (but mainly the other bloke) played the violin in whilst the song was playing. We got about three minutes of that song being played back. A brilliant song. Very catchy. If this song is a barometer to her new album then it's more close to Let England Shake rather than albums like White Chalk and Uh Huh Her <...>. The song that she was working on sounded slightly similar to the song "Let England Shake" and close to the feel and sound of the last 30 seconds of "The Words That Maketh Murder" where the song plays out to "What if I took my problem to The United Nations" albeit more uplifting with a folky and slight gospel feel to it. A lot of violin on that track; it's a great song."

"They had a couple of A1 sheets of paper on the wall that had the song titles of the album on it. The ones I remember reading were called:
All Near The Memorials To Vietnam And Lincoln, Rivers Of Anacostia, Chain Of Keys, Dog Called Money, Community Of Hope, Imagine This, The Wheel and Guilty."

http://drownedinsound.com/community/boards/music/4458044#r8439220


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PostPosted: Sat Jan 17, 2015 6:28 pm 
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Interesting, to say the least. Great writing, too. You're so lucky!! And which guitar Polly was preparing to play in this orchestra - acoustic or electric?

Thanks Kuk91 - Polly was playing her electric guitar - I don't know the make etc., but it's her usual white one. I wished for a few more minutes to listen to them all though!


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PostPosted: Sun Jan 18, 2015 2:48 pm 
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other songs title from Twitter ‏@alishawoot
Quote:
Song titles #PJHarvey's working on: A Dog called Money; Age of the Dollar; Dollar Dollar; Ministry of Defence; Ministry of Social Affairs.
https://twitter.com/alishawoot/status/5 ... 5462096896


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PostPosted: Sun Jan 18, 2015 4:03 pm 
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Those titles are very intriguing. I feel like there's gonna be a lot of metaphors ("A Dog Called Money") and maybe even satire ("Age of the Dollar").

And there's probably more than 10 songs. Those are confirmed ones (which are mentioned in separate sources):

"All Near The Memorials To Vietnam And Lincoln"

"The Chain Of Keys"

"Imagine This"

"Throwing Nothing" ("At the refreshment stand / a boy throws out his hand / As if to feed the starlings / but really he throws nothing")

"I'll Be Waiting"

"A Dog Called Money"

"Ministry of Defence"

"Ministry of Social Affairs" (about Kabul, "See them sitting on the terrain / kneeling by the barricades / no-one smiling, no-one crying / staring straight back into my eyes")

"Rivers Of Anacostia" (about Washington, probably the same song as "South of the River", mentioned by Independent)

And that's already NINE, but there are still other titles: Age of the Dollar, Dollar Dollar, Community Of Hope, The Wheel and Guilty, Sight-Seeing, Around Your Eyes, Homo Sappy Blues.


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PostPosted: Mon Jan 19, 2015 1:21 pm 
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http://thequietus.com/articles/17055-pj ... ess-review

REPORT: PJ Harvey Recording In Progress
Tim Fox , January 19th, 2015 13:01
PJ Harvey is currently recording her next LP in the presence of an audience at London's Somerset House. Tim Fox went along to see how it all works

The process of making an album can be mundane and repetitive, but it is redeemed by friendship, collaboration and the service of a higher purpose. That is one of the messages of Polly Jean Harvey's demystifying yet mischievous public recording installation at Somerset House.

On arrival, minimal directions create a sense of being invited to a poorly organised conference. But somehow that makes the whole thing seem more private and even illicit in an age where artists are obsessed with the privacy and integrity of their recordings pre-release. The only overt signs that the event is curated (by contemporary art collective Artangel) are the framed lyric sheets and posters in the holding area. Harvey will have a poetry collection published later this year and admits in the programme "these days I make the words work on a page first. Lyrics have become extremely important to me".

The lyric sheets, on which it is possible to make out a reference to the UN High Commission for Refugees, indicate that the "album in progress" has been in progress long before the sessions themselves. There are plenty of hints issues of British military adventurism of 2011's Let England Shake will widen to a more global perspective on the finished record.

We are escorted down several flights to a beige room buried in the basement of the much grander surroundings of Somerset House. The programme says much about the importance of place but the recording room could be anywhere. From our narrow corridor, we watch and hear the musicians enclosed behind one-way glass, surrounded by guitars, saxophones, drum paraphernalia, monitors and amps. A coat of arms saying "PJ Harvey" on the wall and bass drum is the only sign of who we're here to see. A white progress sheet of songs and chords is pinned to the wall.

Our group's 45 minutes has its own little narrative: the rehearsing and rehearsing of a few bars, a chord pattern, probably from a verse of one of the songs. Two electric guitars and two acoustic guitars, mediated by genial producer Flood, who sits on a white sofa watching and commenting, casual but authoritative. The three male guitarists mutter and smirk at each other. There is much communication with eyes. They try a few different approaches to the rhythm, Harvey swinging her arms as if summoning a sea shanty, before they decide to overdub the electric guitars as recording the section live was proving a challenge. Harvey doesn't sing live but we hear her guide vocals from the tape. Plans are made for Tuesday's session.

Finally, we are told our slot is over and the sound from the room is cut. The band continues and we leave them, now muted, as if they have always been and always will be in a recording session. The few bars linger in our heads. It's almost exhausting.

Fears that our 45 minutes would consist of watching people just hanging around are fortunately unfounded. Above all, I feel as if we've witnessed an unspoken understanding and camaraderie between the long-term friends and collaborators. When we buy music, there is a feeling of inevitability - that the songs were always meant to sound like that. Recording In Progress reveals all the tiny decisions and uncertainties that lie behind every fragment of the finished product - the forks in the road. There has been much speculation about how the musicians would behave differently or even perform differently when under observation but we do not see much evidence of self-consciousness creeping into the performances apart from a wry aside from Flood that "that was one of the most exciting moments in recording history!" Who knows if the recipients of a different 45 minutes will feel the same.


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PostPosted: Mon Jan 19, 2015 3:02 pm 
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Location: England
more tickets available http://www.somersethouse.org.uk/book-ti ... 92675639f0


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PostPosted: Mon Jan 19, 2015 3:23 pm 
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yay!! Got another one, 4th of Feb!


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PostPosted: Tue Jan 20, 2015 4:25 pm 
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more tickets available http://www.somersethouse.org.uk/book-ti ... 92675639f0


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PostPosted: Tue Jan 20, 2015 5:47 pm 
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Here you can win the tickets just by sheer luck: http://blog.bowers-wilkins.com/music/win-tickets-to-see-pj-harvey-recording-in-progress-live-at-somerset-house-with-bowers-wilkins/. God, I hate my life.


Last edited by Kuk91 on Tue Jan 20, 2015 9:04 pm, edited 1 time in total.

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PostPosted: Tue Jan 20, 2015 6:12 pm 
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Image

Signed print for £300: http://www.somersethouse.org.uk/shop/product/pj-harvey-limited-edition-print.

Image


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PostPosted: Tue Jan 20, 2015 6:53 pm 
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8 Exclusive lyric sheet reproductions for £50: http://www.somersethouse.org.uk/shop/product/pj-harvey-8-exclusive-lyric-sheet-reproductions.

Songs Include:
Sight Seeing South of the River / Medicinals / The Children / The Ministry of Social Affairs / The Revolving Wheel / Imagine This / River Anacostia / UNHCR (UN High Commission for Refugees)


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PostPosted: Tue Jan 20, 2015 8:10 pm 
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http://www.nme.com/news/pj-harvey/82353

Interview bits and another list of songs, noted by "one NME writer":

'River Anacostia'
'Homo Sappy Blues'
'Medicinals'
'Imagine This'
'Chain Of Keys'
'The Ministry Of Defence'
'Near The Memorials To Vietnam & Lincoln'
"The Boy"
'A Dog Called Money'
"A Line In The Sand"
'The Ministry Of Social Affairs'
'Dollar Dollar'
'The Age Of The Dollar'
'I'll Be Waiting'
'The Community Of Hope'
"The Orange Monkey"
'The Wheel [and?] Guilty'


Last edited by Kuk91 on Tue Jan 20, 2015 9:00 pm, edited 1 time in total.

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PostPosted: Tue Jan 20, 2015 8:20 pm 
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http://diymag.com/2015/01/20/observations-from-pj-harveys-recording-in-progress

"Nobody attending "Recording in Progress" could be expecting a seamless display of songwriting, but to see a track ("Homo Sappy Blues") go from potential lead single to a fraction of its former self, in just under an hour, goes to show just how many dead ends await the average artist."

- Harvey swigging coffee between takes.

- Parish debating to himself: "Does the world need another country blues song? I think it does." Harvey then replies: "I think you need to stop talking."


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PostPosted: Tue Jan 20, 2015 9:21 pm 
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http://www.uncut.co.uk/blog/uncut-editors-diary/reviewed-pj-harvey-recording-in-progress-somerset-house-london-january-20-2

"There is a heraldic crest for PJ Harvey on the wall and on a marching band bass drum, the shield supported by a goat and a two-headed dog."

"The strength and clarity of Harvey's vocal is uncannily consistent and, while she allows Flood to do most of the talking, her constant alertness, the way she turns precisely to look at whoever is talking, is striking."

"While her recorded voice plays, she pulls comically aggressive faces at Flood and bends her knees in time to the beat."

"13:31: PJ Harvey yawns."

"She picks up a sheet from her music stand and makes a note. "It's starting to sound pretty interesting now," she says, approvingly. "How's the song going?" asks Flood. "I don't know where the song is," she laughs."

Also, as it turns out, "The (Revolving) Wheel" and "Guilty" are two different songs.

Apparently, this session is preceded the one described by DIY. Drummer's name is Kendrick Rowe, but there's no mention of Mick Harvey (like in DIY) - probably, Terry Edwards was mistaken for Mick Harvey. The song is, most likely, "Homo Sappy Blues", which, apparently, includes lines like "God sent you" and "what God gave you".


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