Chords for Underworld interview - Karl Hyde (part 1)
Tempo:
77.5 bpm
Chords used:
C
F
Ab
Fm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C] [N] I write the poetry of cities every day, it's my discipline.
Yeah well, Carl, after being here for such a long time in music,
how do you find ways to keep yourself challenged musically?
By working with my partner Rick.
That's a real challenge that is.
He's always on the go, he's always thinking and always reinventing and pushing
and striving for something better.
And I love working with him.
That's really at the root of it.
So if he wasn't there, there wouldn't be music maybe?
Maybe not, maybe he would have stopped a long time ago.
I don't know.
He's the most inspiring musician I've ever worked with.
How do you complement each other, do you think?
How do we complement each other?
That's a really good question.
How do we complement each other?
I think we cover areas that the other one doesn't.
And I think that we naturally do things at our extremes that the other one doesn't do.
And then there's somewhere in the middle that we cross over.
And Rick has an understanding of what I do, so that he can help direct it
[Ab] into something that's useful for us.
Can you give an example of the extremes you both try to bring in?
[F] Well, I write words every day.
[C] Here's my notebooks.
I write the poetry of cities every day, that's my discipline.
And I collect words and I've got tons of these books.
Without that, Underworld would have no words.
And Rick spends most of every day in the studio exploring sounds and software and machines
and experimenting with the possibilities that the equipment can open [N] up to us.
And I just don't have that.
I just don't have that kind of focus.
I'd rather go for a walk or something.
And so the two extremes, these are the things that we do.
And then we meet somewhere in the middle and we both write and we exchange ideas.
And Rick has a sense of where this is going and starts to encourage it in directions.
What is the poetry of a city for you?
You're now in Amsterdam.
Every city has a voice and it talks and there's a rhythm to it.
And I go out there and I listen and I start to document the fragments of the city.
And that's what I've been doing for about 22 years now.
And does that atmosphere of a city, does it only find its way back into lyrics or maybe as well into the music?
Does it find its way into the music?
I don't know [F] about the music.
Because the music comes from a lot of places.
It comes from [Fm] the roots of what we've been listening [N] to ever since we were kids.
It comes from something inside which is subconsciously soaking up the sounds around us in the day.
And it comes from being inspired by contemporary music and music that we're constantly listening to.
So there's a combination of all those things that fire up a desire.
Something starts to talk to you and say, this is what we want to make.
For example, on this record, I don't know about Rick, but I started listening to my old records that I had back in the early 80s.
That were early German electronic records from the 70s.
And just really enjoying them and not knowing what to do about it.
And then starting to write tracks that were inspired by them.
And gradually seeing that there was a parallel between some contemporary sounds and what we were into back then.
And that was really encouraging, I think, at the time.
Thinking, maybe there's a kind of zeitgeist going on here that we're tapping into.
And that often happens when you go still and quiet and just follow your intuition.
Because like the fragments of the city, we're continually being given information from all over the place.
That's directing us and following that direction.
[F] And listening to the [C] directions.
That's the hardest part sometimes because we're so busy running around like headless chickens.
Yeah well, Carl, after being here for such a long time in music,
how do you find ways to keep yourself challenged musically?
By working with my partner Rick.
That's a real challenge that is.
He's always on the go, he's always thinking and always reinventing and pushing
and striving for something better.
And I love working with him.
That's really at the root of it.
So if he wasn't there, there wouldn't be music maybe?
Maybe not, maybe he would have stopped a long time ago.
I don't know.
He's the most inspiring musician I've ever worked with.
How do you complement each other, do you think?
How do we complement each other?
That's a really good question.
How do we complement each other?
I think we cover areas that the other one doesn't.
And I think that we naturally do things at our extremes that the other one doesn't do.
And then there's somewhere in the middle that we cross over.
And Rick has an understanding of what I do, so that he can help direct it
[Ab] into something that's useful for us.
Can you give an example of the extremes you both try to bring in?
[F] Well, I write words every day.
[C] Here's my notebooks.
I write the poetry of cities every day, that's my discipline.
And I collect words and I've got tons of these books.
Without that, Underworld would have no words.
And Rick spends most of every day in the studio exploring sounds and software and machines
and experimenting with the possibilities that the equipment can open [N] up to us.
And I just don't have that.
I just don't have that kind of focus.
I'd rather go for a walk or something.
And so the two extremes, these are the things that we do.
And then we meet somewhere in the middle and we both write and we exchange ideas.
And Rick has a sense of where this is going and starts to encourage it in directions.
What is the poetry of a city for you?
You're now in Amsterdam.
Every city has a voice and it talks and there's a rhythm to it.
And I go out there and I listen and I start to document the fragments of the city.
And that's what I've been doing for about 22 years now.
And does that atmosphere of a city, does it only find its way back into lyrics or maybe as well into the music?
Does it find its way into the music?
I don't know [F] about the music.
Because the music comes from a lot of places.
It comes from [Fm] the roots of what we've been listening [N] to ever since we were kids.
It comes from something inside which is subconsciously soaking up the sounds around us in the day.
And it comes from being inspired by contemporary music and music that we're constantly listening to.
So there's a combination of all those things that fire up a desire.
Something starts to talk to you and say, this is what we want to make.
For example, on this record, I don't know about Rick, but I started listening to my old records that I had back in the early 80s.
That were early German electronic records from the 70s.
And just really enjoying them and not knowing what to do about it.
And then starting to write tracks that were inspired by them.
And gradually seeing that there was a parallel between some contemporary sounds and what we were into back then.
And that was really encouraging, I think, at the time.
Thinking, maybe there's a kind of zeitgeist going on here that we're tapping into.
And that often happens when you go still and quiet and just follow your intuition.
Because like the fragments of the city, we're continually being given information from all over the place.
That's directing us and following that direction.
[F] And listening to the [C] directions.
That's the hardest part sometimes because we're so busy running around like headless chickens.
Key:
C
F
Ab
Fm
C
F
Ab
Fm
[C] _ _ [N] I write the poetry of cities every day, it's my discipline. _
Yeah well, Carl, after being here for such a long time in music,
how do you find ways to keep yourself challenged musically?
By working with my partner Rick.
That's a real challenge that is.
He's always on the go, he's always thinking and always reinventing and pushing
and striving for something better.
And I love working with him.
That's really at the root of it.
So if he wasn't there, there wouldn't be music maybe?
Maybe not, maybe he would have stopped a long time ago.
I don't know.
He's the most inspiring musician I've ever worked with.
How do you complement each other, do you think?
_ How do we complement each other?
That's a really good question.
How do we complement each other?
_ I think we cover areas that the other one doesn't.
And I think that we naturally do things at our extremes that the other one doesn't do.
And then there's somewhere in the middle that we cross over. _
And Rick has an understanding of what I do, so that he can help direct it
[Ab] into something that's useful for us.
Can you give an example of the extremes you both try to bring in?
[F] Well, I write words every day.
[C] Here's my notebooks.
I write the poetry of cities every day, that's my discipline.
And I collect words and I've got tons of these books.
Without that, Underworld would have no words.
_ And Rick spends most of every day in the studio exploring sounds and software and machines
and experimenting with the possibilities that the equipment can open [N] up to us.
And I just don't have that.
I just don't have that kind of focus.
I'd rather go for a walk or something.
And so the two extremes, these are the things that we do.
And then we meet somewhere in the middle and we both write and we exchange ideas.
And Rick has a sense of where this is going and starts to encourage it in directions.
What is the poetry of a city for you?
You're now in Amsterdam.
Every city has a voice and it talks and there's a rhythm to it.
And I go out there and I listen and I start to document the fragments of the city.
And that's what I've been doing for about 22 years now.
And does that _ atmosphere of a city, does it only find its way back into lyrics or maybe as well into the music? _
Does it find its way into the music?
I don't know [F] about the music.
Because the music comes from a lot of places.
It comes from [Fm] the roots of what we've been listening [N] to ever since we were kids.
It comes from something inside which is subconsciously soaking up the sounds around us in the day.
And it comes from being inspired by contemporary music and music that we're constantly listening to.
So there's a combination of all those things that fire up a desire.
_ _ Something starts to talk to you and say, this is what we want to make.
For example, on this record, I don't know about Rick, but I started listening to my old records that I had back in the early 80s.
That were early German electronic records from the 70s.
And just really enjoying them and not knowing what to do about it.
And then starting to write tracks that were inspired by them.
_ And gradually seeing that there was a parallel between some contemporary sounds and what we were into back then.
And that was really encouraging, I think, at the time.
Thinking, maybe there's a kind of zeitgeist going on here that we're tapping into.
And that often happens when you go still and quiet and just follow your intuition.
Because like the fragments of the city, we're continually being given information from all over the place.
That's directing us and following that direction.
[F] And listening to the [C] directions.
That's the hardest part sometimes because we're so busy running around like headless chickens. _ _ _ _ _ _
Yeah well, Carl, after being here for such a long time in music,
how do you find ways to keep yourself challenged musically?
By working with my partner Rick.
That's a real challenge that is.
He's always on the go, he's always thinking and always reinventing and pushing
and striving for something better.
And I love working with him.
That's really at the root of it.
So if he wasn't there, there wouldn't be music maybe?
Maybe not, maybe he would have stopped a long time ago.
I don't know.
He's the most inspiring musician I've ever worked with.
How do you complement each other, do you think?
_ How do we complement each other?
That's a really good question.
How do we complement each other?
_ I think we cover areas that the other one doesn't.
And I think that we naturally do things at our extremes that the other one doesn't do.
And then there's somewhere in the middle that we cross over. _
And Rick has an understanding of what I do, so that he can help direct it
[Ab] into something that's useful for us.
Can you give an example of the extremes you both try to bring in?
[F] Well, I write words every day.
[C] Here's my notebooks.
I write the poetry of cities every day, that's my discipline.
And I collect words and I've got tons of these books.
Without that, Underworld would have no words.
_ And Rick spends most of every day in the studio exploring sounds and software and machines
and experimenting with the possibilities that the equipment can open [N] up to us.
And I just don't have that.
I just don't have that kind of focus.
I'd rather go for a walk or something.
And so the two extremes, these are the things that we do.
And then we meet somewhere in the middle and we both write and we exchange ideas.
And Rick has a sense of where this is going and starts to encourage it in directions.
What is the poetry of a city for you?
You're now in Amsterdam.
Every city has a voice and it talks and there's a rhythm to it.
And I go out there and I listen and I start to document the fragments of the city.
And that's what I've been doing for about 22 years now.
And does that _ atmosphere of a city, does it only find its way back into lyrics or maybe as well into the music? _
Does it find its way into the music?
I don't know [F] about the music.
Because the music comes from a lot of places.
It comes from [Fm] the roots of what we've been listening [N] to ever since we were kids.
It comes from something inside which is subconsciously soaking up the sounds around us in the day.
And it comes from being inspired by contemporary music and music that we're constantly listening to.
So there's a combination of all those things that fire up a desire.
_ _ Something starts to talk to you and say, this is what we want to make.
For example, on this record, I don't know about Rick, but I started listening to my old records that I had back in the early 80s.
That were early German electronic records from the 70s.
And just really enjoying them and not knowing what to do about it.
And then starting to write tracks that were inspired by them.
_ And gradually seeing that there was a parallel between some contemporary sounds and what we were into back then.
And that was really encouraging, I think, at the time.
Thinking, maybe there's a kind of zeitgeist going on here that we're tapping into.
And that often happens when you go still and quiet and just follow your intuition.
Because like the fragments of the city, we're continually being given information from all over the place.
That's directing us and following that direction.
[F] And listening to the [C] directions.
That's the hardest part sometimes because we're so busy running around like headless chickens. _ _ _ _ _ _