Amy Lee from Evanescence Jun 11, 2014 5:59:10 GMT
Post by ThirdTerm on Jun 11, 2014 5:59:10 GMT
Evanescence may be mired in legalities with its former record company, but that’s not keeping Amy Lee from plotting the group’s fourth album. Remember, on January 3, 2014, it was announced that Amy Lee had filed a lawsuit against former record label Wind-up Records, seeking $1.5 million in unpaid royalties owned to the band. The suit also alleges that the label undermined the success of the band’s self-titled 2011 album by among other things employing deficient independent promoters to work the set.
The band’s lead vocalist Amy Lee has spoken with 93.3 WMMR radio and she confirmed that she’s coming through leftovers from 2011′s “Evanescence” as well as coming up with fresh material for the group. She said: “I definitely have a lot of songs and ideas and things we haven’t shared yet and I still believe in them, so… you may still get your chance to hear all that stuff… I really only get into that mode when I’m home and finally separated from the chaos of a public life.”
Evanescence frontwoman Amy Lee isn’t talking about the band’s lawsuit against their label, Wind-Up Records. What she is willing to speak about is the score — her first — she’s just recorded with friend and composer Dave Eggar for the indie film “War Story,” which will premiere later this month at Sundance. And what she has to say might not be music to the ears of Evanescence fans awaiting the follow-up to their 2011 self-titled album .
“It’s going to surprise my fans. It’s not what you’d expect; the film is very dark, very introspective. There’s not even a lot of dialogue, which is great, because to me it makes this beautiful, sad platform for music,” Lee said. “There’s a lot of blending of sounds, a lot of ominous tones. I play a lot of keyboard, and a lot of Taurus pedal. There’s a lot of low drones.
“There are moments of playing, and it’s musical, but there are a lot of moments where Dave and I just built walls of sounds, out of blaring cellos and trombones and synthesizers and harp, all on top of each other,” she continued. “Sort of creating new sounds. It’s not, like, a soundtrack. it’s an atmosphere. That song is called ‘Push the Button.’ For a long time, the director, Mark, just couldn’t find the right song placement for this one scene that he wanted something really different sounding. So I was like ‘You know what? I can do this myself,’” she explained. “It’s very different for me, it’s electronic; I did it all myself, which was crazy, because I’m used to engineering and writing and mixing demos in my house, but being responsible for that being the end product was a new challenge for me. It was like ‘This is it, I’m mixing this.’
“This whole process has been really different, and freeing. Doing my band, it’s always been a big deal, a lot of pressure, a lot of hoops to jump through and things to live up to,” she continued. “And that pressure can be good when you’re making that big project, but this was [different] … it’s not all about the music, it’s not all about one thing, it’s a big group of people all doing different things to create a bigger piece of art. It wasn’t about production and singles and worldwide success, it’s about the integrity of the art piece we’re creating. And it’s definitely not about money, it’s indie, low-budget, and I love that.”