Gotye - Wikipedia
However, because Kimbra was used as a throwaway addition to his song Because Gotye wrote the lyrics, it would theoretically be difficult to see If the female in the narrative is in an abusive relationship, it's hard to tell if. Gotye stated that the song was “definitely drawn from various experiences I've had in relationships breaking up produced by Natasha Pincus, shows both Gotye and Kimbra naked throughout the clip, and as they sing, .. Book recommendations, book reviews, quotes, book clubs, book trivia, book lists. Discover 22 Gotye Quotations: Gotye: 'A big part of making music is the it took six months to find Kimbra and really realize she was the right vocalist to Every song on this album I stand behind; I feel like I have a close relationship with them.
What do you think it is about that song that resonates with so many people? There's obviously the universal aspect of a breakup in a relationship. I think people relate to the fact that both Kimbra and I in the song are kind of untrustworthy narrators. In a way the song, through the lyrics and chances in emotion -- from reflection through to angsty bitterness -- tries to communicate this sense of how confused one can be, about either how memory can change, how you think you felt about somebody at the time or how you're not even sure how you feel once a relationship breaks up with somebody that you've been very close with.
I suppose the fact that a lot of what we say in the song brings each other's statements into question reinforces that uncertainty. I think maybe people relate to that as having an element of truth to it in terms of what you tend to experience in life, which is that things aren't very easily wrapped up in black and white. And I don't know, maybe we sing good! How did you come to work with Kimbra?
I met her about five years ago.
Gotye Interview: Find Out Why He Wrote 'Somebody That I Used To Know' | MetroLyrics
She was covering one of my tunes and she was doing little gigs solo on guitar, doing lots of looping of her own voice and guitar at a little club in Melbourne where I went to see her play. We met up but we didn't really stay in touch very closely over the years. She worked a long time developing new material and working on her debut record.
In the last year we hooked back up at a studio we were both working at, and started to become aware of the different stuff on our new records we were working on.
It was actually Francois Tetaz, [who was at the time producing both Gotye's and Kimbra's records] who suggested I contact Kimbra about the song. I was already a big fan of hers and I love her voice but I'd almost told myself I thought she wouldn't be right, but I stayed open-minded. We sent her the track, she really loved the song, and the second we'd demoed some vocals together I knew I was wrong and that she had a really fantastic interpretation.
She's so versatile with how she can use her voice. She found an insight into how to give it that thing that for many months I didn't think a vocalist could do for it. The making of this album was very different than past attempts. You made more of the music from scratch versus from sampling records. Tell me about that evolution.
The main difference is that I played more acoustic instruments and I also used my sampling experience but just applied it to things like sampling bits of my own performance on different instruments: I still sampled records but I guess it was just broader. I went looking a bit further like with field recordings, a weird instrument called the Winton Musical Fence in the outback of Australia.
I tried to go beyond sitting in a room referencing my record collection and manipulating bits from existing recordings, more using some of those samples as platforms and then mixing them more with playing things and applying that sampling approach to acoustic instruments. Was there something specific that brought you to the decision to change your approach? I'm pretty restless creatively, so I never really want to repeat myself. I feel like there are parts of my new record that are somewhat of an extension or distillation of stuff I was doing on my previous album, Like Drawing Blood, so I'm definitely inspired to try to head in a very different direction on my next album.
I'd say its creative restlessness and a desire to explore new things.
I want to keep it interesting for myself. It depends where you decide to define certain areas in which you're going to try to explore newness or variation or what you might call originality.
You can just play an acoustic guitar and through doing things like trying a new tuning system or putting it through an effect pedal, then you reinvent that instrument for yourself. There are ways to simplify and on the one hand have a very limited palette, but still find ways to play with harmony or melody or just the pure sound of it.
But I guess maybe I just need to be more spoiled.Kimbra Tells All About Gotye
I need to go looking further for weird instruments, strange places, old records, or maybe I'm just not as easily inspired when I sit down at the piano and plunk out chords. Any sneak peek into what we can expect from your next album?
I have no idea yet. It takes me a long time to make records and I'm not very successful at trying things out while I'm on the road, especially with what's happened with the success of this track and this record over the last nine months.
I've been so busy I haven't really had a chance to work on anything new. When I go into a music-making space, that for me is when I go into an introverted place and I kind of need to withdraw, maybe process a few years' worth of things like doing shows and traveling the world. On the other hand I'm not really interested for that to be an experience platform to lead into writing songs.
I've already written songs that involve being disenchanted with touring and feeling the wastefulness and use of resources when you travel and fly as much as someone does as a gigging musician.
I need to withdraw, read some more things, or live somewhere I haven't been before and see if some stories arrive. I've never been in D. The culmination of this was the second Gotye album, Like Drawing Blood —named in reference to the difficulties De Backer experienced in recording his music in ever-changing environments.
His first single, "Learnalilgivinanlovin", was released in August InLike Drawing Blood came in at No.
Like Drawing Blood was officially released in the U. Making Mirrors and international success After the success of Like Drawing Blood, De Backer was able to establish a permanent home, still in Melbourne's south east. Inhe set up a recording studio in a barn at his parents' farm and set about recording tracks for his third album. He released a new single, " Eyes Wide Open ", online and on 10" vinyl in mid-October The title was inspired by an artwork his father painted in the s, discovered by De Backer among old bills and newspapers in his parents' barn; it was later edited in Photoshop to become the album artwork.
Directed by Natasha Pincus, the video has now been viewed over 1. On 6 October the video was awarded the Melbourne Design Award.
The video was the Number 15 most viewed video of all-time on YouTube and the Number 4 most liked video of all-time[ when? The visuals were animated and directed by Ari Gibson at Mechanical Apple. Also on this date, Gotye released a video title "Making Making Mirrors", which is a short documentary about the recording process of " Making Mirrors ". In its first week of release, Making Mirrors was already at Number 1 on the Australian ARIA albums chart, making Gotye the first Australian act to simultaneously hold both the Number 1 single and album since Silverchair in The album became an international success, charting in the Top 10 in 17 countries and reaching Number 1 in six.
It charted on the U. Billboard Number 7 and in Canada.
Kimbra: Why I'm glad I've been single most of my career
On the same day the nominations were revealed, the winners of the Artisan categories were announced, with Gotye and the album personnel winning all three. The visuals were animated and directed by Benjamin Drake and Eddie White. The next week it fell from the top spot but on 26 February it reached the top spot for a second time, where it remained for a total of five weeks. These collective performances helped the single to reach Number 1 on the Billboard Hot for the week ending 28 Aprilgiving Gotye his first U.
Number 1 single; the first Australian artist to reach Number 1 in the U.