Monthly Archives: November 2017



Charlotte Gainsbourg’s album “Rest,” recorded at Electric Lady, has garnered Pitchfork’s coveted Best New Music accolade. From Pitchfork:

“Songs like these affirm life, even in the face of death. They transform personal suffering into public spectacle. Few things are more terrifying than exposing our bruises to others, knowing that they could misunderstand, or prey on our vulnerability. On Rest, Gainsbourg doesn’t just reveal her pain, but monumentalizes it, lays out a red carpet, and invites people to watch. Her refusal to be sequestered by grief is, quite literally, a death-defying feat.”

“Rest” is the fourth project recorded here this year to receive Pitchfork’s praises, along with ‘Melodrama’ by Lorde,  ‘A Deeper Understanding’ by The War On Drugs, and ‘Crack-Up’ by Fleet Foxes. Read the rest of the Pitchfork review here.



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This week, Billy Idol announced the  vinyl rerelease of the multi-platinum ‘Rebel Yell,’ featuring the classic songs “Flesh For Fantasy,” “Eyes Without A Face,” and “Rebel Yell.” Check out an excerpt from an old article from Mix about the recording of the lead single from the album:

“While working in Studio B, Stevens and Forsey heard drummer Thommy Price thumping away with Scandal, who had taken over downstairs. The duo told Idol they should bring him in, so he did. ‘He was fantastic,’ declares Stevens. ‘He was so perfect. I think the first thing he played on was ‘Blue Highway,’ and I was like, “Thank God we found a guy who can do this!”‘

With Price behind the kit, Idol and his team recorded “Rebel Yell,” but the low-key break in the song was left open because nothing had been written for it yet. ‘This was in the early days of combining dance elements with rock ‘n’ roll, so we always built in 32 bars, not knowing exactly what we’d do in the middle of the song,’ explains Stevens. ‘We did that with ‘White Wedding,’ ‘Eyes Without a Face’ and ‘Rebel Yell.’ We gave Billy a cassette, and he’d go home and come back with something, then we’d just make it somehow work.’

‘I waited for Billy to come up with a genius line,’ adds Forsey. ‘He came in and tried singing on that part several times, and nothing happened. Then we moved to another studio downtown, and I gave him a [Shure] 57, no mic stand, and he just wandered around the studio and sang. All of a sudden, “I walk the ward for you, babe” just dropped out right there, and it was fantastic. It was really one of those moments in the studio where you get the chills and the hair stands up on your arms, and you know you’ve got something really good. Of course, the guitar line at the top of that song from Steve Stevens is fantastic. That whole concept was fantastic.'”

Read the original article here, and grab a copy of the reissue here.

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Billboard Magazine had a chat with Zayne Malik while he was working inside our Studio A:

“There aren’t many places in New York, or anywhere else for that matter, that feel as cocooned from the ­outside world as the live room in Electric Lady’s Studio A. Designed to Jimi Hendrix’s ­specifications, the curvy space is stocked with shiny vintage gear, faded Persian rugs and a cosmic, wall-sized mural. On this Sunday night in September, a little after 9 p.m., the room’s sole occupant is a slight, ­strikingly handsome 24-year-old, whose unique ­combination of global fame and acute anxiety can make life outside of insulated creative oases like this one ­challenging, and who is currently kicked back on an overstuffed leather sofa, pulling ­meditatively from a joint and watching the smoke curl toward the sound-­deadened ceiling.”

Read the full article here.

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