A portion of the chat can be read below:įlorino: What was the curation process for which songs would end up on the respective halves of Afterman? Jamie’s story is the gift that keeps on giving.Rick Florino from the Rockstar Energy Uproar Festival sat down with COHEED AND CAMBRIA guitarist Travis Stever to discuss their latest albums The Afterman: Ascension and The Afterman: Descension.
Getting Holly Johnson to sing the vocal on the song so that you have that Frankie Goes to Hollywood sound running through that storytelling and trying to bring a bit of depth and authenticity to this was just a real honor. There have been so many highlights so many moments in which you say, “OK, I can’t believe this is happening.” From writing the play seven years ago, every part of it has been thrilling. What has this journey been like for you, bringing this from fringe theatre to stage and to the big screen? Hopefully, with Tom’s brilliant lyrics and with a little bit of craft, you can tell story with that.
Jonathan could see what I write and what I love is the kind of music that lets everyone be a part of it. I love pop music because it is so incredibly sophisticated and it draws you in. We wrote it for a working-class audience, the ordinary folk who listened to ordinary music that you hear on the radio. The whole piece is written in the pop vernacular for two reasons. I wanted to explore what each character’s version of their pop star was. The film infuses the spirit of Jamie Campbell, but how did you capture that through music and his journey?Įach character had its own sound. We felt we knew enough that we were able to say, “This is the kind of things our moms would say.: It speaks of motherhood in such a simple way we felt was necessary for her to have a voice. My fellow collaborators on this also have very strong maternal figures in their lives, and I think we knew a fair bit about motherhood. I was raised by two women, so I have two mothers. What’s interesting is that Tom, Jonathan and I all have very strong mothers. We knew that we were going to have the experience of a mother having this extraordinary and unusual kid, who is brilliant and a nightmare at the same time. It’s a line in the documentary when Jamie’s mother Margaret says, ‘He’s my boy and I love him.’ It’s a very simple phrase and was the first song we wrote. What about “He’s My Boy,” where did that idea come from to have this moment between mother and son? It was important to bring that into the story.
#New song sampling everybody everybody song tv#
We teach Jamie elements of drag, and that it’s more than just a TV show. We wanted to show that it was an embattled culture that was part of Hugo’s history. It was about the raids on queer venues by the police. It was a song about the section 28 rules, the marches, the demonstrations where drag queens were always a part of. It was the story about a mentor explaining to a young queer kid what it was to be queer in London in the ‘80s and early ‘90s with HIV and the AIDS epidemic. What was the story you wanted to tell with that song? In the version we did on stage, we would never have been able to achieve what we can achieve in the film, and we wanted a different moment and a new song for that, because we were going to show audiences Hugo’s backstory and a flashback would never have worked on stage. By doing that, it gave Jamie this sense of what drag can be about, more than just dressing up and its history. There was this moment in the play where we wanted to explore Hugo’s backstory. Let’s start with the new song for the film, ‘This Was Me.’ What was the genesis for it?
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