Secret Codes And Battleships
Format: CD Album
Label: Mercury Records, EMI Records
Release: 21/10/2011
Site: darrenhayes.com
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Stupid Mistake
Format: 7" Vinyl
Label: Mercury Records, EMI Records
Release: 7/05/2012
Site: darrenhayes.com
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Bloodstained Heart
Format: 7" Vinyl
Label: Mercury Records, EMI Records
Release: 05/09/2011
Site: darrenhayes.com
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Black Out The Sun
Format: 7" Vinyl Singles
Label: Mercury Records, EMI Records
Release: 2/10/2011
Site: darrenhayes.com
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Talk Talk Talk
Format: 7" Vinyl Singles
Label: Mercury Records, EMI Records
Release: 24/06/2011
Site: darrenhayes.com
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This Delicate FILM We've Made
Format: Music DVD
Label: Powdered Sugar
Release: 02/2009
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The Time Machine Tour
Format: Music DVD
Label: Powdered Sugar
Release: 21/07/2008
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Big Night In...
Format: Music DVD
Label: Roadshowvideo
Release: 1/12/2006
More: Info

Truly Madly Completely
Format: CD/DVD
Label: Roadshow
Release: 21/11/2005
More: Info

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Darren posted a new blog
Автор: JulyGarden 28 июля 2009 Комментарии: 0 Просмотров: 2352    
July 28, 2009
Originally written on 28 May 2009 for member's of 'Delicacy' Darren's official fan club at www.darrenhayes.com

I guess I have started working on my album. If you don't want to know any of the details then avoid blogs titled 'making of the album' like this one. And read no further.

It's weird playing cloak and dagger about the details because unlike the last record, where I didn't know I was starting it until suddenly I had a bunch of songs and I set a definite time line and location. This one has been worked on in short sharp bursts at the moment. My plan is that by August I will have a short list of songs that I intend to go on the record - and then I'll make a decision about what extra works needs to be done recording and writing wise, and eventually set a date for mixing.

August deadline is more for business reasons than release ones. There are certain partners that I need to get on board to make sure this record sees the light of day - and I want to be able to present a very good demo version of the album by that stage. I would probably mix it either late this year or earlier next year but I don't imagine it would be released any time sooner than mid or late 2010. But you said you wanted to be in on the process so here it is!

There are about 7 songs that already sit on my ipod in a playlist that I call 'new album'. I don't know if they'll all end up on there but a good deal of them will. A couple of them came from meeting with other songwriters and working on songs for other artists. It's been a wonderful accident really because the subconscious mind thought I was not making my own album so I could 'do what I wanted to do' which ironically meant that I was in fact doing exactly what I wanted to do without the pressure of thinking that I had to deliver for me. As a result, whether it's because I put my own personal stamp on them too much or they just didn't fit the brief, many of the songs remained in my custody. There is one and potentially two songs that are being recorded by quite a big pop group - but it's never official until it happens so I'll let you know if it does. Anyway, back to my story - I started to realize that I was in fact writing songs for my new album, albeit with some new collaborators. Looking back (some of you can probably remember more than I can) I think most of my albums begin without me consciously saying 'I am now officially making an album'. I usually need some kind of diversion to get myself out of 'myself' to allow a new process to kick in. With 'Tension..' that was a 'side project' with Robert Conley. With 'Delicate..' it was writing songs for the Savage Garden 'Best of' and experimenting to find a new sound. In all of those examples, I most certainly was not making an album until I looked back and realized I had a lot of the songs.

Such has been the process this time. And in terms of the pop direction, this has been a really happy accident. I was first approached by a major pop label to write songs for their artists. They hooked me up with various people I'd never met before and my eyes were widened. The preconceptions I had about 'pop' were tumbling down like a house of cards because I was loving the songs and learning so much in the process of working with people who do it day in and day out. For me, as an artist, it's easy to just come up with material when I need it. But for some of these guys it's a high stakes profession where they are expected to come up with the goods. So their expertise and my fluidity has been a wonderful match. So there's a few names I've worked with that I'll mention later when it becomes more confirmed, but one is from Sweden, one is English but has had lots of U.S hits, one is American and an old friend and major hit maker. Of my old friends obviously one is Justin Shave and the other is Robert Conley. Who I am working with in the studio as we speak.

Robert is here for 2 weeks and then I am doing more work with other writers for a bit before Justin Shave comes over for a few weeks to do some stuff. After Justin I might end up going back to Sweden for a bit and possibly working with some more people. The goal is to have more material than I could possibly want.

My aim for this record is for it to be the best of what I do. I feel like an olympic athlete and I'm gearing up for the best competition of my life. I have something to prove to myself as well as all of you. I want to take some of the artistry and the emotion that I've been able to develop over the last two albums but pair that up with the most lean and melodically strong and unforgettable songs you've ever heard on the radio. So in some ways it follows that this record might be considered a 'return to form' (I hate that phrase) or a more accessible record. But I like to think of it as me reclaiming something that is mine. Sneaking my quirks and theatrics into the mainstream via the undeniable medium of melody. If that is what makes a good pop record (and when I say a good pop record I mean something like Madonna's 'Like a Prayer' album or The Killers 'Hot Fuss' - just wall to wall great songs) then that is what I'm trying to make. A classic album. Not the sound of those albums, but the strength if you know what I mean.

There's a pretty strong theme running through a lot of it - obviously it's not a concept album but honestly, aren't all albums (or shouldn't they) have some kind of unifying idea? This one stems from a lot of imagery I've collected over the past year, poems and lyrics I've been hiding away and observations, hopes and fears about life and love. Mostly it began from a memory of a painting that once hung in my parent's house and a story someone told me. It's a big metaphor for life and relationships and I can't wait until it becomes less foggy and more clear and presentable to you.
Let me try to tell you a story about some of the songs. Let me start with the Swedish ones. One of them, that I'll call 'B' is literally gobsmackingly awesome. It was initially written for someone huge but it made it to the final rounds and wasn't chosen. Thank you Jesus is all I can say because handing it over was like giving over a child to a stranger. When it was written I actually said 'that is the sound of my new album' so it's very serendipitous that it's still in my possession. Even if it doesn't end up on my album it deeply shaped the sound of it so either way it's a blessing. There's still some debate over whether another artist at the label might record it but we're holding pretty firm on the fact that I've now fallen in love with it and I can no longer bear to part ways. I'll keep you updated.

The next song, was written with Justin Shave and I'll call it 'G'. It was a direct reaction to the sound of 'B' and is probably my favorite song so far. I'm not sure. It's massive. Theatrical. Celebratory. Gothic. Religious. Massive.

The next song I'll call 'D' was written with a super dooper massive song writer producer extraordinaire who I found intimidating at first and then lovely. It's what some people are saying could be a first single. Simple powerful song that explodes into something huge at the end. Love it.

Song 'T' is 'Up' and sad at the same time. Again written with the swede. Big vocals bloody high notes. I love it

Song 'L' was inspired by the film 'Let the right one in'. Very moody and cinematic. Again written with the Swede.

Song 'S' is possibly the title track. Written with the swede, almost a stream of consciousness melody in reaction to a poem I had written specifically for the song months beforehand. In many ways the whole point of the record. A real departure for me in terms of sound. Hard to describe. Tiny but panoramic.

The song I wrote with Robert (I'll call N) was finished just yesterday. It's a big joyful chorus and bittersweet sentiment juxtaposed.

The second one (I'll call 'S'), still needs lyrics but is already one of my favorites on the record. He and I have come up with a totally unique sound for the two of us. We've never done anything like these two songs before.

So that pretty much brings you up to date on where we are at.

Let's see where it takes us!

In the meantime

Darren posted a new blog

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