Out Of Silence was recorded live in-studio via webcast on Facebook and YouTube and will be mixed, mastered and digitally released one week after the recording, on 1 September 2017.
“It’s pretty damned exciting. It’s the way I always dreamed of making music.”
Each Friday for the last month, Neil Finn has been convening in his Roundhead Studios in Auckland, New Zealand with a collection of musical friends and colleagues and a worldwide audience of over 15,000. Live streaming the sessions has allowed the general public into the world of the recording studio and a chance to intimately witness the technical and creative process that goes into preparing for, and recording an album.
The first three weeks of the Out Of Silence webcasts were used to rehearse and fine-tune a selection of the songs destined for the album as well as treat the studio and online audiences to some musical surprises. Finn was determined to make it an interactive experience, allowing for Skype calls from both members of the public and friends and family from overseas. Crowded House bassist Nick Seymour called in from Ireland and playing along to their song As Sure As I Am, Liam Finn and Connan Mockasin beamed in from Los Angeles and Jimmy Barnes (whose daughter EJ was part of the studio choir) delivered a thrilling Skype duet of the Split Enz classic Shark Attack.
Though the primary purpose of the early sessions was to rehearse for the album recording in week four, Finn rose to the sense of occasion that the process presented. In week two brother Tim joined him for a set of Finn Brothers songs while the following Friday saw Neil back on guitar fronting a tight rock band comprised of James Milne (bass), Elroy Finn (drums), Delaney Davidson (guitar) and Finn Scholes (keyboards) playing Crowded House songs (Weather With You) and Split Enz songs such as I Got You.
Each of the lead-up sessions were a tightly focused two hours but for the final webcast and full recording of the album, a four hour window was allocated. There was clearly less frivolity and loose joking around with the seriousness of the matter at hand. One got the sense the preceding week had been an intense period of rehearsing and ironing out any weaknesses in arrangements and performances. Finn also alluded to a week where many of the musicians had to battle winter illnesses to get to the final stage of the project.
“Is there anything we need to remember?” asks Finn. “Don’t fuck it up!” came the reply from his son and the album’s producer, Liam.
In a tightly packed studio, with Finn solely on piano, brass and woodwind sections, a percussionist, choir, drummer and guitarists as well as studio technicians and a film crew it was clearly an exercise in logistics and planning. As the session progressed it became clear how much of a people-person Finn is. In a high pressure environment, with the world watching, he was still able to create a working atmosphere that allowed individuals to relax and express themselves, for opinions to be voiced and all without a raised voice or overtly autocratic approach. It made for an inclusive and harmonious vibe in the room and one that filtered through into the soul of the music.
With son Liam Finn in the producer role, the album songs were recorded out of sequence, allowing them to ease into the session and also to bracket together the songs that required the various additional groups of musicians. The one constant was the choir, a who’s who of New Zealand music, including James Milne (Lawrence Arabia), Hollie Fullbrook (Tiny Ruins), Reb Fountain, Sam Flynn Scott (The Phoenix Foundation), Don McGlashan (The Muttonbirds), Sean Donnelly (SJD), EJ Barnes and Tim’s son Harper Finn. Dressed in robes and described by Finn as looking like “the mysterious alumni of some obscure university”, they provided a warm, campfire vibe that took in gospel and folk elements, giving weight and ascendency to Finn’s voice across the recordings.
Multiple takes of each song were undertaken, with micro adjustments made on each successive performance. Finn experimented with the interplay between his piano playing and singing, requesting a click track on some takes and none on others – anything to find the right mood and feel for each song. He fine-tuned string arrangements on the fly with arranger Victoria Kelly and provided suggestions to the choir on where to focus the impetus of their singing. It was a fascinating insight into both the process and Finn’s creative spirit and attention to detail.
From the momentum and pulse of Second Nature to the swooning melancholy of More Than One Of You, the Robert Wyatt’ish Alone with Tim Finn on guitar and vocals to the topical and Split Enz-sounding baroque pop of Terrorise Me with the line ‘love is stronger when it hurts’, Finn touched on themes of war, terror and policing but countered it with the greater and often more mysterious power of love. The overarching sound of the album was one of ornate and highly textured music, classic in tone and sophisticated and adventurous in its emotional range.