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bundy · 02-29-2004, 01:55 AM

To help them on their way, AIR enlisted the help of Radiohead and Beck producer, Nigel Godrich and Serge Gainsbourg's string arranger Michel Colombier, whose '60's string arrangements were akin to sonic panty-remover. Collaboration with artists of various disciplines has always been vital to AIR, from their soundtrack work on Sofia Coppola's films, The Virgin Suicides and Lost in Translation, to live theatrical literary readings with iconic Italian author Alessandro Baricco and most recently,, their compositions for a ballet in Paris. "It's so important to us to do side projects with different artists because everything is related, like the ecosystem," Godin ventures. "But it's hard to make albums just for art's sake because the labels don't like it, they need to make money. Like our album with Alessandro Baricco. Sometimes i'm very sad that the other stuff is not very promoted. When we make an album, it's a photograph of our life, and each time we meet these people, work with these artists, we change. It's very important for us to work with people outside the music, or pop music business, because it's so limited. Working with these people feeds us, the artists feed us. And you get to see the world through different windows."

It was this common appreciation of art that lead them to commission renowned painter and photographer, Richard Prince to create the album cover for, Talkie Walkie. On it, Godin and Dunckel stand before a background of mathematical equations, making fists in black leather gloves, both staring off into separate distances. "Richard know that JB used to be a maths and physics teacher and that i used to be an architect, so he included these themes," Godin explains. "In the background are the equations of Einstein's Theory of Relativity, and that's a perfect symbol of what we do: music is completely relative. One song will be so beautiful for one person and such crap for someone else." Still Godin admits that the one opinion that matters is the man in the mirror's, and he has vowed to give it all up when AIR starts putting out crap. "As a musician, there's a point after your peak - when you had passion and good things to say - where you start going down. This is the curve," he muses. "I don't ask God for much, but i would like him to help me to realise when it's happening. And it happens to even the best musicians. But i feel that i will still have inspiration and power for the next three years or so." How can Godin be so sure that he will know when AIR has passed its prime? The answer, it seems, relates to how the duo knew it was time to stop writing songs about outer space and start crying out for true love - call it Gallic intuition. "As a French guy," he declares with absolute certainty, "I will just know."

02-29-2004, 01:55 AM	#1159 (permalink)
bundy . Location: Tokyo	To help them on their way, AIR enlisted the help of Radiohead and Beck producer, Nigel Godrich and Serge Gainsbourg's string arranger Michel Colombier, whose '60's string arrangements were akin to sonic panty-remover. Collaboration with artists of various disciplines has always been vital to AIR, from their soundtrack work on Sofia Coppola's films, The Virgin Suicides and Lost in Translation, to live theatrical literary readings with iconic Italian author Alessandro Baricco and most recently,, their compositions for a ballet in Paris. "It's so important to us to do side projects with different artists because everything is related, like the ecosystem," Godin ventures. "But it's hard to make albums just for art's sake because the labels don't like it, they need to make money. Like our album with Alessandro Baricco. Sometimes i'm very sad that the other stuff is not very promoted. When we make an album, it's a photograph of our life, and each time we meet these people, work with these artists, we change. It's very important for us to work with people outside the music, or pop music business, because it's so limited. Working with these people feeds us, the artists feed us. And you get to see the world through different windows." It was this common appreciation of art that lead them to commission renowned painter and photographer, Richard Prince to create the album cover for, Talkie Walkie. On it, Godin and Dunckel stand before a background of mathematical equations, making fists in black leather gloves, both staring off into separate distances. "Richard know that JB used to be a maths and physics teacher and that i used to be an architect, so he included these themes," Godin explains. "In the background are the equations of Einstein's Theory of Relativity, and that's a perfect symbol of what we do: music is completely relative. One song will be so beautiful for one person and such crap for someone else." Still Godin admits that the one opinion that matters is the man in the mirror's, and he has vowed to give it all up when AIR starts putting out crap. "As a musician, there's a point after your peak - when you had passion and good things to say - where you start going down. This is the curve," he muses. "I don't ask God for much, but i would like him to help me to realise when it's happening. And it happens to even the best musicians. But i feel that i will still have inspiration and power for the next three years or so." How can Godin be so sure that he will know when AIR has passed its prime? The answer, it seems, relates to how the duo knew it was time to stop writing songs about outer space and start crying out for true love - call it Gallic intuition. "As a French guy," he declares with absolute certainty, "I will just know." __________________ Ohayo!!!