thisisablogabouttheblackkeys:

Bullet In The Brain || Hangout Music Festival 2014


thisisablogabouttheblackkeys:

Pat nerds out on studio environments and recording equipment for Turn Blue


thisisablogabouttheblackkeys:

© Jason Goodrich | GW

The only thing that’s changed is that we have an engineer, equipment that works, and people that will go get us tacos.
Pat on what it’s like recording now versus the early years. x (via thisisablogabouttheblackkeys)
There was a lot of bullshit I’m not used to. The label says, ‘We’re not going to give you the budget to extend this session unless we hear something.’ And we send them the rough mix and they fucking hate it and they hate the way it’s mixed. And it’s like, ‘Thanks, asshole.’… I think Lana put her foot down. Maybe it’s normal for her, but it’s not normal for me. Really rubbed me the wrong way. I got really defensive because I thought it was bullshit.

Dan Auerbach for The Rolling Stone, about the Ultraviolence production.

(via i-m-yournational-anthem)

thisisablogabouttheblackkeys:

© Jason Goodrich | GW

balkanrock-com:

Best of Balkanrock.com - INmusic 2014

misfitsoul:

The Black Keys - Belfort - 2014

(Source: Flickr / daidix)

It’s really important to get the first or second take. And not try to [be] perfect, which can ruin the soul of the song, or the original intent. You can beat a horse to death when you’re in the studio. We try to avoid that. When you’re too comfortable, it’s going to feel like that on the record. Like you’re not taking your risks. We never rehearse, we never practice. We make a record, and it’ll be what it’s going to be. We’ve always done that.
Dan Auerbach (via thisisablogabouttheblackkeys)