The Reason (06 mars 2007)


Entrevue de Cath avec Adam White

The world before me, the world behind me. I don't know which side I'm on, but it's the right one... for me.

Cette phrase qui sert d'ouverture à Things Couldn't Be Better ne pourrait pas être plus juste en ce qui a trait à la situation de THE REASON, qui nous présentent leur second opus aujourd'hui le 6 mars. Après nous avoir habitué à des compos lourdes, des rythmes entraînants et un bon paquet de geulage, les voici de retour avec un produit qui défie toutes les attentes. Ceux qui se préparaient à entendre d'autres Subways in Pittsburgh risquent d'avoir un petit choc.

“The whole thing with the screaming is, I only wanna scream if it's necessary. Why scream when there could be a really good melody there?,” lance un Adam White qui a définitivement changé depuis les derniers dix-huit mois. “We went through a lot, we grew up. We calmed down a bit, everybody doesn't have to be riffing all the time, the drums don't have to always be doing all this complicateed stuff. We thought, let's pull back and just focus on what makes this song good. Nobody was afraid to bring stuff to the table anymore because it wasn't our genre. It was about making songs that were catchy, with good melodies,” explique-t-il.

Si on se fie aux paroles-mêmes de White, son groupe se lançait sur un terrain inconnu lors de la parution de leur premier enregistrement, Ravenna, diffusé en 2004. Il ne serait pas faux de dire la même chose de ce petit nouveau. Cette fois-ci, la différence se situe au niveau des limites que se sont imposées le groupe, ou plutôt l'absence de limites en fait.

“On this record we didn't say 'well, we gotta have our acoustic song, we gotta have a kind of reggae sounding song.' We just wanted to write whatever came. We went away, we isolated ourselves and wrote whatever we felt. The first songs we wrote, and that were recorded prior to the STRUNG OUT/COMEBACK KID tour, were This Is Just The Beginning, This Is Taking Forever, Sleepyhead and If My Tongue Could Talk, and they were all different. Before, someone would come up with something cool that we'd jam on in practice and that everybody loved, and then say, 'that's too funky, we can't do that... we're a punk band,' or 'that's too mellow, we're not one of those bands'. This time around, we thought 'let's just write whatever, who fucking cares, right?' It's like a new beginning, let's just do a sweet record of good songs that we all like, and whatever comes out comes out! And it all worked in the end – we're really excited.“

Ceux qui ne portaient pas attention à l'évolution du groupe auraient pû manquer un détail frappant. White n'est plus strictement l'homme au micro, il se charge désormais d'un clavier. Lors de notre dernière discussion, cet ajout ne devait jouer qu'un rôle secondaire. Pourtant, une seule écoute suffit pour constater que le groupe accorde une plce centrale à ce nouvel instrument, à un point tel où certaines pièces semblent avoir été construites directement autour des claviers. Même si ce n'est pas exactement la méthode employée, White est évidemment au courant de la situation car il m'arrache pratiquement les mots de la bouche lorsque vient le temps de lui poser la question. “The keyboard kind of goes in at the end,” lance-t-il en guise d'explication. “But what happens is, I'll do the vocals and if I hear another vocal underneath it i'll throw the keyboard in and it kind of drives the song a bit more.”

Un facteur important, qui porte le nom de Nic Newby, a influencé cettte décision d'introduire un clavier au sein de la structure musicale du groupe. L'dée a germé lorsque THE REASON a eu l'occasion de partager la scène avec BRAZIL lors du Smallman Tour à l'été 2005. “BRAZIL was my favorite band to watch. Just hearing him play... it was cool. I heard a lot of parts in the song ideas that I had and it was like, this could have a cool keybaord part... this could have a cool keyboard part... why not do it?”

Tout cela peut sembler un peu lointain si on tient compte du fait que la formation lance son album quelques dix-huit mois plus tard. En fait, l'enregistrement aurait dû paraître il y a un an déjà: “It was supposed to come out in April '06 but by then we'd only recorded half of it. So we thought we'd put it out in June, and then our drummer broke his hand so we had to wait until June to finish it. So by the time we went back in June we thought it'd come out in September. But we hadn't finished until August, so we couldn't put it out in September, it had to be January!” Le groupe a par la suite attiré l'attention de Warner, qui ont offert un appui considérable malgré un autre léger retardement qui faisait en sorte que la promotion ne pouvait être lancée avant début janvier 2007.

“We weren't ready,“ poursuit-il. “We got a bunch of songs, but they were all really bad. We just needed to re-focus or something. Everything was really confusing.” La musique n'était pas non plus la seule source de perturbation. Un blocus au niveau des paroles a causé plus d'un mal de tête à White. “When we were recording, I couldn't think of any good lyrics. I had lyrics for a lot of the songs, but they weren't going together like i wanted. I had the songs in order before I even had any lyrics for them. I just wanted to flow it, go from start to finish. We knew My Broken Leg was going to be the beginning, and we knew Reset the Breaker was going to be last. We wrote those to they could be in the position that they're in, but everything in between was put in order according to what the lyrics were going to be about. I wanted all the songs to sort of flow together and be about every little struggle we went through as a band to get to where we are now. I mean, we're twenty-five now, a lot of people just pack it in and say, 'I gotta go do a family' or 'I gotta go to school'. For us, this is what we're doing, we all kind of made that decision. It's kind of why we say “things couldn't be better”, you know? So, I ran into obstacles with the lyrics where i just didn't know what to do. One day, I just had this thing and I just knew what every song was going to be about. That's what the song I Felt A Song Inside Me is about - I finally heard it fucking what it was i wanted to write about! All the songs were pretty much recorded at that point, and it was like bang bang bang, it all came together.”

La patience est toujours largement récompensée, et les voici donc en train d'effectuer un retour ambitieux mais triomphant. Le groupe lance une attaque média avec un tout nouveau vidéo pour le premier extrait, This Is Just The Beginning, signé Sean Michael Turrell (qui est responsible d'une tonne de productions dont celles de BILLY TALENT, TEAGAN & SARA et SUM 41). “The song is kind of about what I was like when I didn't know what to write for the lyrics and didn't know what the album was going to be about. It was like, I know what I want to say, I just don't know how to do it. It was really fucking frustrating. I just wanted to tell people how we felt.”

En plus, le groupe décollera pour trois tournées avant même le début de l'été. Après leur circuit avec THE SPILL CANVAS, THE REASON assurera la première partie de MUTE MATH le 10 mars, et sera de retour en avril avec ANBERLIN.

Mais la vrai récompense de cette tranquille ténacité prend la forme d'un bout de plastique, délicatement encaissé dans un livret de carton joliment confectionné. White, qui vient tout juste de mettre la main sur la première copie de son nouvel album, le tourne de tous les côtés et l'ouvre avec une fascination exaltée afin de révéler une pochette qui se déplie en poster, sur lequel on voit un dessin fait main de chaque membre du groupe. “I'm excited that this is finally out, I'm gonna carry it around all night and show it to every body!”

Une contribution notable de la part de Sara Quin (TEAGAN & SARA) figure au beau milieu de l'album. “Sara, Teagan and I have been friends for a really long time,” explique White. “We had always talked about doing a song together, so we thought we'd do it on this record. We were originally going to have her sing on Unquestionable, but our producer Gavin (Brown) thought it might not be the right song for her. He said we might want to write a song just for her, because Unquestionable was already written and he figured it should just be new. So when Cam broke his hand, we had these three different parts that we hadn't done anything with, and we changed the keys in a couple different spots and had her sing. We wrote We're So Beyond This because we had time to do it then. It just sounded best on acoustic, with some kind of synth strings and stuff, kind of like BRUCE SPRINGSTEEN vibe to it.” Selon les commentaires reçus jusqu'à maintenant, la pièce en question est de loin une des meilleures de l'album. La mélodie est d'une beauté simple, les paroles d'une candeur innocente et franche. “When you're on tour... I have a girlfriend back home and it's hard, you know? It's hard for her to trust me, and for me to trust her. Sometimes when you've been with someone so long, you get into stupid fights about shit. Both Sara and I have been through that, so it was like, let's make a fucking sweet song where it's like, 'let's just be normal and trust each other.' We locked ourselves in the room and wrote the lyrics in like five hours and recorded it all in one day. It was pretty cool!”

Things Coulnd't Be Better est le genre d'enregistrement qui s'écoute facilementest et qui sera bien reçu par un public assez large. Même si le groupe vient chercher un nouveau public, ce nouvel album est du genre de ceux que même les endurcis écouteront, même s'ils ne le font qu'en cachète. Le groupe en fait l'inoguration aujourd'hui à Toronto, chez Sam the Record Man sur Yonge. “It's kinda like a CD release party, a free show for whoever wants to come, you know what I mean? Let's take over a record shop and just fucking tear it down!”

Merci à Adam d'avoir pris le temps de discuter avec nous, et à Amelia chez Smallman Records d'avoir rendu cet entretien possible.



En savoir plus Entrevues les plus récentesLire les commentaires (0)Ajouter un commentaire