The album is dancing or dying?

What were your choices in terms of machines?
We have our own robotic color palette for a long time with The Celtic Social Club. These are drums, bass, washboard, harmonica, and many other acoustic, electric and other string guitars (banjo, mandolin, bouzouki), violin, yalin tube (i.e. Irish bagpipe), and Irish flute (tin and low whistle). We work with and around these different tools. Then, it is not restricted at all. We allow ourselves studio albums and from the start other things in the arrangements, the sounds, the guests … apart from the different keyboards and accordions, dance or die? Move things on that side again. In some songs we have, for the first time, a gospel choir (Sankofa unit), backstage trombonnes (Sébastien Orzan), a voice spoken in Gaelic (Desi Donnelly, Dan’s father). Sometimes we manage these inputs ourselves (especially Manu for consoles and hardware). Sometimes it’s our comrades from the Celtic Social Club galaxy, like New Yorker Roy Harter (piano, keyboards, accordion) or Celine Ryvaud (violin) who sometimes play with us on stage. The selections are made according to each song and the arrangements in which they inspire us, and the overall tone of the album that unfolds gradually. Here, obviously, the reference to the Beatles opened up the vocal and harmonious field for the department’s use of brass. There is no real battle plan in the beginning. Things are done, affirming and refining themselves as they are. Although we have time Dance or die? It was used extensively to try things, to try to go back four hundred times on one piece if the arrangement didn’t seem to work for us yet.

In what atmosphere was the recording in the studio?
There were no studio recording sessions for this record, which was done entirely remotely. We each worked in our own ‘home studios’, due to Covid, for the first time in the group’s career. say it again Dance or die? It really is a containment album. We only used as soon as possible, to
Some guitars, drums and harmonicas, Studio Richard Puaud (bass) in Poitiers. And so, of course, for that amazing bass that we have on the album that remains one of the strong marks of the album’s rhythmic sound.

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How is the album? dancing or dying What is important and what do you want to reach the audience?
Given the scale of work and individual and collective investment, it’s clear that every new album released is very important. In addition to only the musical and artistic aspect, there are also all the administrative aspects that go along with the outing: promotion and press officials, budgets, relations with production companies and publishers, preparation for the tour …
In this global management, Dance or die? Both are in line with the previous release, particularly with the UK release early next year, and differ in the post-Covid issues in the fact that we created our own chassis and called it, 125
HARLEM for its production and launch. Other dynamics at work in England and
Ireland. In short, a whole series of partnerships in this expanded team around the Celtic Social Club that allow the group to grow with each album, moving forward, advancing, and taking on new challenges and issues. And therefore, Dance or die? It’s a very important album to us, especially since I personally think it’s our best, most successful and cohesive in aesthetics… and that’s okay, it’s our new baby! For the rest of your question, we never ask ourselves the “audience” question when doing things, when we’re in the creative process. Then, of course, once we get past the final stage of mastering, that is, when everything is finally set and engraved in plastic or vinyl with the playlist, the album will finally live its life in other ears. And obviously we want the album to please, that it will kick your feet, sing phrases, that it provides energy and joy, and that it also moves on the most emotional tracks.
In short, let him do his work of “music” in the daily life of the one who bought it.

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Tell us about the address genuinely And cut…
I think it’s one of the first tracks we worked on for the album. It has undergone a lot of changes and developments before arriving in this very attractive and attractive version, with the Dexys Midnight Runners violin and this Beatles universe. It’s a slice of raw optimism with an intentional pop sound with a very positive, voluntary script by Dan who declares loud and clear that when it’s time to get back to work, we’ll be ready for reality! Words express this desire to do everything with enthusiasm, to do it in the best possible way. A way to re-evaluate and re-affirm life, to affirm that it was made for the living and that every day counts. This song is the first song to be released in the month of May in France and England. section genuinely Thought and directed by our team in London, by Andy Poulter, who had already made a beautiful drawn clip for I’m free On the previous album, who took charge of all the graphics for the new album with Ross Pete. Actor Harry McIlroy, who is the “weather man” in the clip, is also the one pictured on the cover. Actress Wendy Morgan plays the reporter. It’s really an idea for Andy, who pulled off the process to keep the group alive when we couldn’t go to England. Only Dan managed to get to London for filming. Obviously, parallel to the song’s script, the clip denounces American-style “TV news,” all these constant avalanches of news that could upend entire nations, as seen under Trump’s skies in the United States. So yeah, obviously, there’s a bit of political content in the background, but that’s second-rate humor that the English have. Andy has made tremendous progress in our visual approach to the group. If it is clear that the Celtic social club’s logo remains at the heart of the group’s communication and solidification, Andy has taken us elsewhere, perhaps to something more modern. Anyway, we are proud and happy with his work on this record and with all the variations to be made!

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Anecdote or indiscretion to present to us dancing or dying ?
Perhaps you are hallucinating or terrified of how many versions there are for certain songs, especially on a track like older man…we have always been so sick of work and arrangements. But there, with the time provided by confinement, we reached new heights!

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