Songs Of Experience 18 Months Away Plus or Minus

Today FM's The Mix Up show featured an interview with The Edge where he outlines the work flow process.  Currently the band has been focused on rehearsals for the up coming tour. While they are focused on the tour they have set aside time to push the next album out.

Finishing date are fluid, its hard to predict. They refuse to rush the process and the label of course will not force them to throw out another album before its completely ready.

The band has never released a "rushed" product and at this point why start now.  The Edge said "We don't want to release anything that we haven't had a chance to really finish to our satisfaction."

"Q" Exclusive U2 Cover

The Killers, Jack White, Nine Inch Nails, Snow Patrol, Patti Smith, Depeche Mode & more re-invent U2’s landmark album Q ’ the UK’s biggest selling monthly music magazine ’ is proud to announce a very special issue featuring an exclusive CD: AHK-TOONG BAY-BI COVERED ’ an interpretation of U2’s landmark album featuring a host of stellar artists.

Celebrating its 25th anniversary, Q presents the album as a commemoration of U2’s Achtung Baby, 20 this year. All of the tracks on the CD are brand new recordings made exclusively for Q.

Q Editor in Chief Paul Rees commented: “It is always Q’s intention to present a unique take on music. At a time when free CDs have become ten-a-penny, I strongly believe the Achtung Baby Covered album sets a new, and much higher, benchmark for the format. Not only in the sense that each of the tracks are brand new recordings by some of the biggest and most iconic names in music such as Jack White, Nine Inch Nails and Patti Smith, but also in that several of them mark the first new material we have heard from these acts in a long time ’ such as those by The Killers, Damien Rice and Garbage. This is an entirely appropriate way to mark Q’s anniversary and that of Achtung Baby, one of the pivotal albums in our lifetime.”

The magazine/cd package is a strictly limited edition and will only be available from and in stores from the 25th October.

Q is one of the world’s most influential music brands ’ communicating to and engaging with more than a million music fans every day. The iconic Q magazine sits at the heart of the brand and service that encompasses online, social media, radio, TV and live events, with each dedicated to discovering great new music and bringing unparalleled access and insight in the people making it.

The full track listing:

Nine Inch Nails ’ Zoo Station
U2 (Jacques Lu Cont Mix) ’ Even Better Than The Real Thing
Damien Rice ’ One
Patti Smith ’ Until The End Of The World
Garbage ’ Who’s Gonna Ride Your Wild Horses
Depeche Mode ’ So Cruel
Snow Patrol ’ Mysterious Ways
The Fray ’ Trying To Throw Your Arms Around The World
Gavin Friday ’ The Fly
The Killers ’ Ultraviolet (Light My Way)
Glasvegas ’ Acrobat
Jack White ’ Love Is Blindness

It Might Get Loud comes to DVD

Who hasn’t wanted to be a rock star, join a band or play electric guitar? Music resonates, moves and inspires us. Strummed through the fingers of The Edge, Jimmy Page and Jack White, somehow it does more. Such is the premise of It Might Get Loud, a new documentary conceived by producer Thomas Tull.
It Might Get Loud isn’t like any other rock’n roll documentary.

It Might Get Loud Rarely can a film penetrate the glamorous surface of rock legends. It Might Get Loud tells the personal stories, in their own words, of three generations of electric guitar virtuosos – The Edge (U2), Jimmy Page (Led Zeppelin), and Jack White (The White Stripes). It reveals how each developed his unique sound and style of playing favorite instruments, guitars both found and invented. Concentrating on the artist’s musical rebellion, traveling with him to influential locations, provoking rare discussion as to how and why he writes and plays, this film lets you witness intimate moments and hear new music from each artist. The movie revolves around a day when Jimmy Page, Jack White, and The Edge first met and sat down together to share their stories, teach and play.


How is this film different from other music documentaries?

While there have been a lot of performance documentaries, this one is really about the relationship between these three men and their instruments. We tried to show what drives the artists, what got them passionate as players, what made them pick up the guitar in the first place.

Where did you come up with this concept?

The guitar is something I am ardent about. I was thinking how, on a global level, the personification of contemporary music IS the guitar: from video games to debates over Top 10 guitarists lists, from rock to jazz to blues, this instrument captures everyone’s imagination. It was a subject I hadn’t really seen explored on film, from that perspective.

What was instrumental in you picking Davis Guggenheim to direct?

I’ve known Davis as a friend for a number of years. He is one of the best documentarians there is (as shown in “An Inconvenient Truth”), and he’s passionate about music too. He was the only person I thought of for this film.

Why did you want to make this film?

As a fan I wanted to see a movie that captured the essence of why people are so fanatic about the guitar. I wanted to tell that story through these three, particular artists.
How did you choose Jimmy Page, The Edge and Jack White? What was it like working with them?
It was almost like casting a movie. We wanted to show a wide range of styles and eras by focusing on three of the best players in the world, from three generations…and they said yes! Like many kids, I had a poster of Jimmy Page on my wall—he is a living legend. U2 is one of the greatest bands ever, and The Edge is a brilliant and distinctive player. Jack White is the new generation—cutting his own path but also keeping the guitar, and great guitar traditions, alive.

What do you hope audiences will experience while watching the film?

Honestly, I made this film for people like me, people who love music and the experience of a live show. When you love a band or a musician you want to know how and why they do what they do—what makes them tick. Davis was able to show this, to get inside these guys’ worlds and inside their heads in a way I don’t think any other music documentary has. I hope fans are as excited and fulfilled by seeing and hearing what he uncovered as I am. Page

What was your initial reaction when Thomas Tull first approached you about IMGL?

Thomas asked me to come to his office in Burbank - I had no idea why. I get there and he launches into this passionate pitch about the electric guitar and how no film has ever captured what it is that makes the instrument so great. He described the huge influence the electric guitar has had on him and our entire society.
Soon, without ever realizing it, I was hooked: totally into this idea of looking at the subject matter in a different way. The history of the instrument has already been thoroughly explored. Most Rock and Roll documentaries focus on car wrecks and overdoses; or they pontificate with sweeping generalities about how this guy was “God” and how “music was changed forever”…

Thomas and I didn’t want any of that. We wanted to focus on story-telling and the path of the artist, we wanted to push deeper beneath the surface.

Are there particular moments from the film that are your favorites?

There are so many.

We were filming in Jimmy Page’s home outside of London - which he has never allowed before – and he starts pulling out his favorite albums and playing them for us. These are the records that he listened to and learned from as a young musician. Just watching him listen to the records was incredible - and then he started playing air guitar!

We were filming Jack in Austin, Texas, and he’s playing this out-of-control guitar solo. Through the lens, I start realizing that he’s so focused and playing so aggressively that his hand is bleeding without him even knowing it.

Or Edge taking us to the classroom where he and U2 first met and rehearsed when they were 16 and 17 years old. This was just a regular high school classroom – they would meet for practice and spend the first ten minutes clearing all the desks to the sides before they could actually play.
In Tennessee, I asked Jack to write an original song on camera – and he did it – right in front of us… I don’t think I have ever seen that before.
Another time, Jimmy played us previews of two new tracks he was writing – both of which actually ended up in the movie.

What was the most challenging part of shooting this film?

The most challenging part of the project was weaving these three stories together. Each guitarist comes from a different generation, has different roots, different theories - sometimes in direct conflict of one another. I had a hunch that inter-cutting their stories would be really interesting, but was panicked at times - worried that it would never work.

How long did the shoot take?

Lesley Chilcott and I spent the better part of a year flying between London, Nashville and Dublin, following these guys. Sometimes it would be a very small crew, very intimate and sparse. And then we had a huge shoot on one of the largest Hollywood soundstages. There were seven cameras, the three rock stars, all their guitars and crew — it was like a three ring circus. I’ll never forget the look on the crews’ faces (and even those of us in the business who are so jaded) when Jimmy Page, The Edge and Jack White, turned on their amps and started playing together.

What I love about this movie, and what makes it so unique, is how the scale will change from Edge alone in his studio late night - to the three of them jamming on a Led Zeppelin track together with the volume full blast and the cameras capturing every angle.

What do you hope audiences will experience while watching the film?

I hope the audience will fall in love with these guys as much as I did. Not just as rock stars - that part is easy - but at individuals and artists who turned their individual life experiences into music: beautiful, raw, in-your-face, visceral, and transcendent. And I hope that audiences feel a touch of that child-like excitement that Thomas sparked in me, that first day we sat down.

It Might Get Loud