Vídeo: DANKO JONES

🗣️ Transcrição automática de voz para texto.

[Music] [Music] Mr trow what went down in your [Music] head the stars are in the sh [Music] listen to them to them Children of the Night Children of the Night what music [Music] ELC Jones [Music] hello hello hey Denko how are you good how are you everything is good how is Canada uh warm that’s nice it’s nice if you like warm weather I guess well I mean it’s it’s kind of scary because it shouldn’t be this warm in Canada at this time of year but nobody’s complaining and uh you know let’s talk about your European tour um you guys are doing a second run after the album release you’re coming back to Europe you’re playing Lisbon October 14th for those who never watch Dano Jones show live and they haven’t gone on YouTube they’re going to be there for the first time what can they expect from a Dano Jones Show uh I mean I don’t know I’m on stage so I never I’ve never seen one um but I mean we’re just going to play our rock songs we really go on tour with no frills we just have the songs um but it’s kept us alive for all these years so there’s something in the songs and maybe this the way we perform them that keep our band coming back and keep our band um afloat so that’s I mean I’m not a really good salesman for trying to get people to come to the show seriously I’m not I I just kind of feel like if you like the music which is which is the business that we’re in and you want to hear it live then come to the show pretty much you know yeah and your lest record electric sounds uh was released last year uh it was the first album after a pandemic what did you learn from the pandemic actually no it was the second album released oh power Tri was released in 2021 yes yeah I mean it was released during the pandemic I guess but you know since covid we’ve released two albums yeah and and we’ve gone tour for both of them yeah what changed or what did you learn from that that pandemic when when it comes to to music and the songwriting process because I mean I guess a lot of people couldn’t be together and all that um did you believe that you could write songs without being together well yeah now we don’t live we used to live in the same city before the pandemic and now we’re all scattered we don’t we all move or I didn’t move I stayed here in Toronto but uh JC moved to Finland and Rich moved to Pei which is Prince Edward Island which is a province on the way east coast of Canada very far away it’s like a three-hour plane ride to get there so we’re we’re we’re not exactly in the same city uh we’re not in we’re not in the same room anymore so a lot of the songs well all the songs are getting written like power Trio and electric sounds uh by sending files to each other there a lot of emails but slowly the the songs come together yeah and and You Know Rich can be in PEI way out there and and record a drum track back and so he’s got a setup at his place where he can record drums on demos that JC puts together and I’m here in my place and it all starts with like a guitar like a loose Arrangement that I make up with a melody and the riffs and the guitar riffs and I send it to JC and then JC takes it and then just completely scrambles it and turns it upside down so if you go back on all the songs on all our albums if you go back all the way to the beginning and the nub of what I sent to JC it’s not the same song so uh usually no not usually I’d say like every other song that no not even like I mean I I’ll send JC 10 song ideas and really only one or two are good one or two he’ll work on you know the rest he’s just like this isn’t good enough or this is almost there you know and and I just I keep throwing him stuff till till he hears something and then he kind of he arranges all our songs so he you know there’s so many songs where I’ve said okay so this is the verse the Verse Chorus Verse you know whatever and he goes no actually your verse is your chorus so I I just you know I throw my hands up in the air but that’s always an interesting you know learning process when you think of an idea and then someone says like maybe work the other way around and it kind of helps you improve as a musician and as a songwriter as well because maybe next time I’m just presuming maybe next time you will try to put yourself in his mind what would he think if I play like no I don’t you don’t I if I try to be something I’m not then I’m and I try to be him then we have we have two versions of him or or he does the same to me we have two versions of me and my version of him is never going to be as good as his him so I just try to do my own thing I just write riffs and come up with melody lines and and um and see where it takes me guitar Rifts aren’t really for me I’ve never been hard to have never been hard to come up with I mean I I can I can come up with a few every day and make them into songs every day I just don’t have the time to do that but I can if you if you give me the time um but you know I I I it’s just a matter of also our standard is really high so I think you know like out of the 10 songs that I send JC maybe another band would take six or five of them or seven of them but we don’t like and I I get it like and I’m not married to it I I send it as soon as I can I can before I get married to something um because once I’m attached to it then it’s hard for me to just listen to it objectively yeah so I uh I just make sure that I send it off as soon as possible um yeah so that yeah like over the years like we have 11 albums and we have two two three other albums of of compilation compiled songs from here and there so there’s a lot of material a lot of songs and so oh I don’t feel any pressure when we put out their next album because you’re only as good as your last one I never feel the pressure but I am aware of the standard and the standard that we hold as in terms of I know we get criticized for by music critics all the time about our albums I don’t care I mean I can do circles around most music journalists on music so I personally and it’s very arrogant of me to say but I think most people writing present company excluded obviously but I think most people who write or or revolve around music who aren’t in band who just in the in the service of critiquing music they just don’t have I know it sounds arogant but they don’t have the the listening experience or to know like that’s why I sto reading reviews is because I would get so frustrated that someone who is reviewing our album has no idea of the references and the music that we’re taking from yeah so how can you possibly critique this this music when you don’t even know its history and you don’t know what you’re talking about so I don’t read reviews um I just do I just do interviews and hope to God whoever I’m speaking to knows that music yeah um and actually that’s and so recently I’ve just said only recently which I should have done like 15 years ago I don’t want to do interviews anymore because not because I don’t want to talk about our band and promote our band but it’s just it’s a waste of time if you’re talking to somebody who doesn’t know anything about the music they purport to know about yeah so yeah anyways that’s my little rant yeah but but it’s I talked with Steve VI last year and um I was talking about you know I don’t do band reviews of albums because I I’m not a musician I cannot put myself in issues I’m not going to criticize something I’m not able to do and when I talk with Stevi he told me me there’s only one or two journalists that he would accept a critique because he know that they know I understand the music otherwise it doesn’t pay attention to anyone else critiques because yeah again I’m not able to write a song so why I’m going to say oh he sucks or sounds whatever you know I cannot do that I enjoy music I love music and that’s my passion and if it does something to me great if it doesn’t you know I want listen I move to something that I enjoy and that’s for me yeah it’s really subjective I mean it’s a subjective I mean it’s art right so it’s subjective so anyone kind of like and of course I’m aware that I’m being defensive as well when I read negative reviews but like there’s been a few negative reviews where I’m like touche okay you just don’t like our band I get it you got all your references right and you know your stuff okay you proved your point um but usually it’s not like that I’d say 99% of the time a negative a negative review floats floats by my translum because and and I pay attention to it and I don’t like it because um the writer is projecting something of their own [ __ ] onto me especially when I read reviews whether it’s live or album reviews about how um oh I think oh he thinks he’s like a manly man and manly man and I remember this one guy just writing this this this live review of our show and how I just thought I was this man’s man I’m like whoa who what’s going on here I’m just playing what’s these are your issues like your own you are projecting this [ __ ] onto me I’m just playing I’m just playing this these songs you know like um and so and and also and also you were not aware that of of performance and and there is a certain certain level of performance even you know you mentioned Steve VI like it’s like me going oh what does he think he’s so great at guitar and he’s oh he’s sticking his tongue out making faces and all yeah it’s performance yeah so yeah there’s I I I I don’t know how we got on this tangent but but I just I just don’t like I just don’t read reviews um having said that you know when we go and to make a record uh or when we start writing songs and then we start recording the record there’s a lot of critiquing that that happens within like JC will critique me I’ll critique myself Rich will critique our producer whoever it is Eric or gu or whoever will critique the songs and and and Hammer them you know Hammer them until they’re chiseled into songs and if you if you don’t keep your ego in check and you don’t realize the process then things can get really hairy so I’ve learned over the years to just like let the process uh live with you have to live with the critiques and and understand it’s for the for the betterment of the the song and the album and the band um so yeah it’s it’s it’s it’s these are things that a lot of people don’t realize when they get into wanting to be in a band and as much as it is a a parade of ego like a a parade of super ego on stage and um some sort of um like a like a flaunting of it or or some sort of pageantry of a of a super ego it’s also the real work is keeping your ego in check yeah and uh you know when you when you write a song when you finish a song um do you envision playing that song life you know imagine if it’s you know this song actually is going to work really well live do you have that perception normally when you writing a song or an album let’s say you and you say okay these songs here and there on the set list they’re going to work well yeah every song that we write we we don’t know we don’t write for singles or radio you just write a bunch of good songs that you think are good but every song you write at least for me when I’m coming up with riffs I’m thinking about you know how is this going to go over live like how does this sound how is this going to sound live whether we end up playing it or not because you know we’ve got 11 albums and we all and you know as much as the discography keeps growing year after year the set time always stays the same you’re always going to be either 30 minutes to 75 to 90 minutes it’s never going to be a 7 hour show yeah so um only a few songs get played um you know and you have to satisfy people who want to hear the songs that brought them there in the first place you know their entry points and you want to play this new songs but you can’t play all of them cuz if you do no one will know what the [ __ ] you’re playing and then you want to play some songs that you know you want to play because to entertain yourself really yeah and uh so yeah and that’s you know I I always imagine like when you have like 11 records to pick a set list you have songs as you were saying that you enjoy that you have to play Because You Love the song and then you have to think about probably the fans that more more or not a fan favorite is it complicated to build a set list around all that especially when you have a new album and you have to promote it as well uh yeah yes and no I mean there’s there’s songs that we’re going to have to play till till we’re finished um so that makes it easy in terms of like four or five songs we’re always going to play and then you know there’s always going to be songs off the new album so it’s you know anywhere between one song or three songs on this electric sounds album we’ve been playing four songs which is a lot um and then and then the past songs which you know you can mix and match so no I don’t know I don’t write the set lists anymore I I JC writes all the set lists and then um he runs it by us before the tour before a show and you know if Rich and I if there’s a song that rich and I don’t want to play or we’re not rehearsed enough we just go I don’t want to play that song and then he’ll just swap it out um there’s a few songs that I really don’t like playing and every now and then they’ll make their way back into the set list and I’ll go and I’ll always say like I I hate that song I don’t want to play it and it will end up getting played because you know eventually you have to put it back into the set yeah and uh you know when when you’re in the studio recording and when you’re going play Live does your gear change is much from Studio to the live setting yeah um when you’re in the studio you’re trying to get the best sound and sometimes your live guitar doesn’t sound as good as like you know uh a $12,000 less Paul I mean there’s a reason why it’s that much or or not to put down my live guitars because that’s not happened I actually play the reason why I’m on hagstrom is because when we were doing the a rock Supreme album I got uh Hegstrom on a at a pawn shop in the on a break during the um the recording and it ended up doing I ended up using that guitar for almost every solo on that album and it caused me to reach out to hagr and go you know like this you got your guitars are awesome and um since then actually hagstrom guitars I’ve used on album but when I haven’t it’s when I was on I was using I was playing explorers live and in the studio explorers it just didn’t sound good you know so so yeah it just depends on on um yeah in in the past we’ve had albums where there’s like been a row of guitars which I would you know we’ve we’ve borrowed from friends or the producer brings in um and they’re really really high-end guitars and they’re amazing um but my guitars Li or back then they were more workhorses live and they just just didn’t just doesn’t sound good on record for some reason yeah and live you still prefer to use amps like proper amps because today with technology with camper and whatever digital stuff you can replicate you know emulate an amplifier sound do you still prefer to use the amps live or are you I’ve never used a keer I don’t even know what the hell that is I’ve heard the name I don’t even know know what that is I use a like I use a head in a cabinet um usually orange because I’m endorsed by them um if we can get it but sometimes on fly outs you know or festivals you can only use the festival provided gear but we usually try and make sure that they’re orange heads and and cabinets um I mean truth be told I’m really picky about the heads and cabinets and I won’t put down other Brands yeah but um yeah sometimes yeah sometimes I walk on stage going damn I wish I was like playing my gear um but I don’t even know what keer I don’t even know what that is I I I’m not a Gearhead so I don’t know any of that stuff but I remember we played with this one band they opened for us in France just this oneoff show it was like a radio show and they were like I don’t know where they were from but man they had all the haircuts and they had all the look down they had all the shirts and the the jeans everything was pristine and perfect and uh and they they had no amps and I was just like where is the sound coming from I don’t even know what the hell’s going on so I I I don’t know I’m like I’m old school so I don’t and I don’t really want to know any of that stuff so yeah I was just just curious because because one of the these advantage of that digital stuff is like when you’re playing a small Club if you’re really in the front you don’t get any sound you just hear vocals you you hear the drums and that’s it unless you have the speakers of the the the club you know in your direction I wear in ears and uh for my voice and to hear instead of monitors on stage and because of that if you are near the stage like behind on stage you won’t get you won’t hear the vocals very very loud because the other guys I know JC doesn’t get my vocals in his monitor so you can’t really hear it um if you’re standing side stage uh but whatever if you’re out in the crowd you can yeah cool thano thank you very much for your time all the best for this European run I’ll see you in Lisbon October 14th at love as it call and you know looking forward to see you again it’s been a while since I last actually hasn’t been that long you played as a support for I can’t remember was at the Coliseum I can’t remember Volbeat that was 2019 Volbeat yes that was the the last time so five years ago yeah so looking forward to see you again and all the best see you in Lisbon all right thank you very much thank you bye-bye see you bye bye bye [Music] glal glal [Music] [Music] Circle amethyst the [Music] gsy [Music] for Children of the Night you will live through the centuries to come as I have Liv good night good night [Music]