10.30.2014

Myles Kennedy talks Slash and World On Fire



 Myles Kennedy talks Slash and World On Fire

Working with Slash

You seem to work continuously between Slash and Alter Bridge; are you staying sane?
“So far. At first, about four or five years ago, when this started, as far as the frequency in which I’m touring goes it was kind of hard to get used to. Last night, I was sitting with Mark [Tremonti] and he was like, ‘We’ve been out for four or five weeks, I don’t know how you can go back out on the road for another run.’ You kind of get used to it. It becomes your existence; what you know. It’s almost like you train your body to operate that way. It’s like a muscle, I guess, the more you use it, the better it gets.”

There are 17 tracks on this album; writer’s block still doesn’t seem to be a problem for you, even with two bands on the go...
“Not yet. The well still seems to be there to draw from. I can’t tell whether that’s always going to be the case, just because a lot of times you see that writers do have a finite amount of ideas and concepts to draw from. I think what I’ve learned to do is not look inward as much.

It was almost like a journal, the way I used to write, especially back in the Mayfield Four days. As time has gone on I’ve had to look at the world around me and had to tell stories, to a point.

"I’m certainly no Bruce Springsteen, in terms of being a storyteller, but I’m trying to get a better handle on it and not always go after it from an autobiographical standpoint.”

Was this an easier album to make for you than Apocalyptic Love?
“With this one it seemed even faster. That could just be because we've all been doing this for so long. I mentioned the same thing on the last Alter Bridge record; the process has changed so much where there's not so much overthinking, at least not so much on my end. It's definitely about trying to stay in that stream of consciousness and not overthink.”

Slash describes your musical chemistry as instantaneous, did you feel the same?
“Yes, I think that's what drew me to this whole thing – the ease of it. When he first sent me the music for what became the song Starlight [from Slash's 2010 self-titled solo album] it happened very naturally. And for the most part it's been that way ever since.

"I think a lot of it has to do with the fact that we're both very blues orientated artists; we draw from a certain amount of soul in the way we approach things. And I think that's where our chemistry really lies; the need to emote.”

And you don't argue?
“No, in fact I don't think we've ever really had an argument. There have certainly been times when there might be a part or a lyric or an idea where it's a case of, 'I'm not sure about that' or 'I'm not coming up with something for this, I'm not reacting to it' and the cool thing about that is that we've both been in this dog and pony show long enough to know that's going to happen.

"You just don't take it personally, it's part of the filtration process and part of why I want to work with this person and collaborate with them, because I trust their instincts.”





Credits: musicradar.com

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