{"id":33775,"date":"2016-01-18T17:47:19","date_gmt":"2016-01-18T17:47:19","guid":{"rendered":"http:\/\/www.thesenseofdoubt.com\/?p=33775"},"modified":"2016-01-18T17:50:01","modified_gmt":"2016-01-18T17:50:01","slug":"the-dead-weather-interview-dodge-and-burn","status":"publish","type":"post","link":"http:\/\/box2305.temp.domains\/~thesent5\/the-dead-weather-interview-dodge-and-burn\/","title":{"rendered":"The Dead Weather: INTERVIEW [Dodge and Burn]"},"content":{"rendered":"

The Dead Weather: INTERVIEW [Dodge and Burn]<\/h2>\n

Interview published for the cover story of Indie Rocks! <\/a>(January, 2016)<\/h5>\n
Alejandro De Luna<\/h5>\n

Thundering\u00a0noises. A female silhouette. The overwhelming smoke of cigarette that fills a dark room. Raw guitar\u00a0riffs. The soundtrack for\u00a0a night of waste. Archetypes of darkness and light incarnated\u00a0in four figures. Leather jackets. Unsettling voices. Fearless\u00a0audacity. The Dead Weather<\/strong> is back with their third full-length plaque\u00a0after a long lethargy of over 5 years.<\/p>\n

Let get things straight. This is not only<\/em> the group of Jack White <\/strong>or Alison Mosshart.<\/strong> The Dead Weather<\/strong> is a unit \u2013 much more than a single individual.\u00a0In this band\u00a0there are no hierarchies. The democratic essence, the tremendous line-up\u00a0and\u00a0the unique noise\u00a0that characterizes The Dead Weather<\/strong>, make this project even more fascinating\u00a0than the insolence of their vocalist on stage.<\/p>\n

Dodge and Burn<\/em> does not disappoint. It is violent at times and darker than their previous releases. It has tracks covered with guitars and bass lines that hit the eardrum, but there is also room for introspection with a piano ballad that takes a\u00a0different musical direction, thanks to\u00a0Alison Mosshart.<\/strong><\/p>\n

\u00a0A matter of agendas<\/strong><\/h4>\n

As with the other members of The Dead Weather<\/strong>, Alison Mosshart\u00b4s<\/strong>\u00a0journey transits over a busy permanent creative process. Her agenda includes “900 things at a time”, which included the conclusion of the North American leg of the tour with The Kills<\/strong>; recording the new album; writing; painting and, of course, to comply with media commitments due to the return of The Dead Weather.<\/strong><\/p>\n

“Everyone is so busy with other projects and touring around the world. Although we live in Nashville, the reality is that we’re never here, “says Alison Mosshart <\/strong>in a telephone call from Nashville, Tennessee.<\/p>\n

Across the speakerphone is this\u00a0interviewer in\u00a0London – Alison Mosshart\u00b4s<\/strong> second ‘home’ since 15 years. The singer answers the phone. She is in a good mood; her voice is clear and captivating, and the answers are long and thoughtful. Alison<\/strong>\u00a0quickly dictates the tone of the conversation and begins with a comparison between both ‘homes’:<\/p>\n

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“Culturally, London fills any gap that Nashville may not have. But in London I cannot get many things done. The pace of life is too fast, the space is very small and everything takes time. On the other hand, Nashville is beautiful. The people are very friendly and you can easily control your existence. It is an ideal place for music.”<\/p>\n<\/blockquote>\n

Although both cities serve as strategic headquarter, due to the proximity of her\u00a0projects (The Dead Weather<\/strong> in Nashville and The Kills<\/strong> in London), Alison Mosshart<\/strong> is a nomad saturated by overloaded agendas. “I spend very little time in these places, not more than two weeks in a row. I’m always traveling; my life moves in between airports and hotels,” she laughs.<\/p>\n

If we multiply this situation by the modus vivendi of the four members, is easy to understand the delay on releasing\u00a0Dodge and Burn\u00a0<\/em>and the struggle\u00a0to go on tour: “If we would not have any other commitments, we would have easily recorded five albums,” says Alison<\/strong>.<\/p>\n

Recording sessions and creative processes<\/strong><\/h4>\n
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“I am very proud of this record. It sounds like we worked on it for two years, but the reality is that we wrote and recorded it in less than a month.”<\/p>\n<\/blockquote>\n

The previous plates of The Dead Weather<\/strong> (two studio albums, a live album and a couple\u00a0of\u00a0singles) were crafted in less than two years. Similar deed comes from\u00a0Dodge and Burn<\/em>: “Four months ago we had this moment when we returned to the studio and without thinking the album was ready. It was like the first time we played together. When this happens, you can create a lot of music. For example, we recorded five songs in a day and a half,” she explains.<\/p>\n

But beyond the speed of\u00a0The Dead Weather<\/strong>\u00a0composing material,\u00a0what\u00a0truly\u00a0enhances the group signed by Third Man Records<\/em> is the amalgamation\u00a0of four disparate and extremely talented personalities offering sound variations\u00a0but without leaving behind\u00a0the unmatched\u00a0essence of the band: “There is a crossover style on us; if you listen to the music that we\u00b4ve played for years with our respective bands, you will see that what defines us is a similar musical footprint.”, says Alison<\/strong>.<\/p>\n

The unavoidable\u00a0question about the difference between the creative process of The Dead Weather<\/strong> and The Kills<\/strong>\u00a0comes and Alison\u00b4s response\u00a0denotes polarities in terms of the compositional style: “They are totally different experiences. It’s like London and Nashville. The Kills<\/strong> requires a more technical process, and is more demanding. It is more meticulous and psychotic. It is about creating sketches separately and seeking the human component with\u00a0drum machines,” she explains. “On the other hand,\u00a0The Dead Weather’s<\/strong> approach is based on getting caught up in your instincts and be open up to the natural and human aspects of music.”<\/p>\n