La suite du projet de Henning Pauly à paraitre en février 2005. Cette fois-ci ce n'est plus LaBrie au chant, c'est Sebastian Bach.

Le pitch :

In the beginning
The basic concept of Frameshift’s Human Grain was conceived by progrockrecords president Shawn Gordon. Several years ago he played keyboards for the band Zircadian and they had a partially written concept album under the name Prophet Savant which gave us the initial idea for Human Grain. In their storyline a man experiences different forms of violence because he becomes a kind of seer. They had written songs for an epic battle and two torture scenes.

In countless eMails and meetings (one including Stephan Kernbach from Chain) Shawn Gordon and Henning Pauly developed this idea into the storyline and concept that is now the new Frameshift album. They dropped the mystical approach and decided to move it closer towards a real situation, distancing the concept from being a story around a person and rather focusing on what that person experiences. In this respect the album actually does not have a real storyline, just like Unweaving the Rainbow, but a series of songs around the same topic.


Human Grain - The Concept

“Violence is the last refuge of the incompetent”

This quote gives you a good idea what this album is about. It is about violence, human violence to be precise. It is ever present and, in varying degrees, ingrained in all of us. Just like woodgrain, violence is in all of us, but the question is what factors determine who lets it show through and how does it show itself. The same questions haunts the protagonist of Human Grain. He is a curious individual who wants to know why the media is filled with news about murder, rape and war and he is afraid that he might have the potential for violence himself. He starts to research the subject, but this is not enough because it can’t show him what motivates the person that acts violently, what plagues them and it doesn’t make him feel the pain of the victims. His desire to understand one of humanity’s most basic traits leads to a series of vivid dreams that appear to be so real that he can’t escape this dream world until it is all over. In them, he becomes the killer, he becomes the rapist, he becomes the soldier, he becomes the mother crying for her daughter who was raped.

The first song introduces the theme and illustrates how our main character is plagued by his questions about humanity’s major flaw. He starts a journey into the minds of other people to experience violence first hand. At the end of the album he draws his conclusion and asks himself if there is nothing else to us than hurting each other and the answer he finds is worthy of discovery.

Human Grain takes you into the psyche of several different people who are either experiencing or acting out violence. Each form of violence is dealt with in two songs, each one shedding light on a different point view of the scenario. For example, one song illustrates a torture scene from the point of view of the torturer and the paired song takes you into the same room, this time from the point of view of the man being tortured. Another pairing is about violence in schools. One song deals with a teacher using psychological violence towards his students who then rebel and the other song is about a school shooting.

J'ai pas aimé le 1er Frameshift, j'ai trouvé ça pas mal, mais ça reste plutôt banal....

Je prefere, et de très loin, le dernier DT.

Moi j'ai bien aimé le dernier parce qu'il y avait Labrie... Sans lui, faut voir, pas sûr que ça me plaise !

Bon ça n'intéresse que moi mais tant pis :

Shawn Gordon, president of ProgRock Records, has posted a studio report on the progress of the recording sessions for the new FRAMESHIFT album, the progressive rock project written and produced by Henning Pauly of CHAIN. As previously reported, former SKID ROW frontman Sebastian Bach has been confirmed as a guest vocalist on the CD, entitled "Human Grain". FRAMESHIFT's debut album, "Unweaving the Rainbow", featured guest vocals by DREAM THEATER's James LaBrie. Gordon's posting follows:

"Started recording about noon, it's cold and raining and Sebastian got in late [Monday] night [Jan. 3], the dude has more energy than 10 children on pixie sticks, it's really funny, I've been laughing my ass off the whole day so far. I came in and they were already a quarter done with 'This is Gonna Hurt' which is a song about torture. Sebastian is burning through this song so fast it's not even funny. There is a bit in the middle where he was going to just do some ad-lib stuff vocally and he had this idea, which turned in to this big, amazing choral thing that is really gonna blow you away.

"What is really fun is how new this style of music is to him, he's like a kid at Disneyland for the first time, what we're doing is so different from what he typically does, but I don't want to make it sound totally foreign, he's a big RUSH fan as well as some other prog bands, but he's been doing metal and all that for a long time now, so in terms of recording, this is pretty fresh for him. We definitely made the right decision here I think, and once again big thanks to our good friend James LaBrie [DREAM THEATER] for helping us with both albums."

oui en plus en anglais, ça va interesser que toi jules (alias Harry potter),

Je me la raconte en postant des trucs en anglais mais je pige que dalle !!!
Chuis un magicien

oui tiens fait un résumé en français du denrnier message, ça va aider, j'ai même pas chercher à le lire!!

Dans un élan de générosité et dans ma volonté de vous intéresser à Frameshift je traduis dans mon anglais le plus parfait (mais ça ne sera pas parfait) :

Le président du label Progrock, Shaw Gordon, a posté un compte-rendu de l’avancement des sessions d’enregistrement du nouvel album de Frameshift qui, comme chacun sait, est un projet mené de main de maitre par Henning Pauly du groupe Chain. Comme il a été préalablement reporté, c’est Sebastian Bach (ex-Skid Row) qui tiendra le micro en lieu et place de James LaBrie pour un album qui s’appelerio Quezac…euh…Human Grain.

Gordon raconte. « Bach est arrivé le lundi 3 janvier alors qu’il faisait froid et qu’il pleuvait et ce gars a plus d’énergie que 10 gamins et ça, c’est super marrant, j’arrête pas de me marrer à tel point que j’en chie de dans mon froc. Je suis arrivé et ils avaient déjà fait un quart de « This is gonna hurt » qui est une chanson sur la torture. Sebastian s’enflamme à mort sure cette chanson que c’en est même pas drôle. Il y a un passage au milieu où il était en train de faire des machins vocalement et il a eu cette idée, qui est devenue énorme, de mettre une énorme chorale qui vous fera frémir au plus profond de votre âme.

Ce qui est vraiment marrant c’est que ce type de musique est vraiment nouveau pour lui, il est comme un gamin qui va au Parc Astérix pour la première fois, ce qu’on fait en ce moment est si différent de ce qu’il fait habituellement, mais je ne veux pas raconter n’importe quoi, il est un grand fan de Rush tout comme d’autres groupes de prog mais il fait du metal et ceci depuis pas mal de temps maintenant, donc en terme d’enregistrement c’est super nouveau pour lui. Mais on a vraiment fait la bonne décision je pense, et une nouvelle fois je remercie grandement notre bon ami James LaBrie pour nous avoir aidé sur les 2 albums de Frameshift. »

Voilà j’ai fait ce que j’ai pu avec ce que j’ai

Tiens une nouvelle news
C'est Gordon qui parle :
Doing the lead off track for the album today, 'Human Grain'. got a bit of a late start due to some logistics regarding vehicles. Recording is once again going super fast, and it's also sounding amazing. I listened to the first track we recorded yesterday about 30 times during my drive to and the from studio and it's just so killer. Henning and Sebastian had a very slick turbo session adjusting some of the lyrics earlier today to help it flow better, and while the changes are subtle, it really does make a difference, but what's really great is how well the two are working together. There is some serious screaming on this track, we had some fun doing the end of day video as well. Laying down all these harmonies with Sebastian has really been sounding cool too."

Traduction vite fait :
"On a eu quelques problèmes logistiques (y avait des bouchons sur le périph'). L'enregistrement va super vite et tout sonne superbement bien. J'ai écouté la première chanson qu'on a enregistré hier à peu près 30 fois (c'est le nombre de fois qu'il l'a écoutée je précise) pendant mon trajet et ça tue !! Henning et Sebastian se magne le cul pour changer quelques parloes pour que ça sonne mieux et même si il n'y a pas beaucoup de changements, ça fait vraiment la différence, mais ce qui est vraiment super c'est de voir à quel point ces 2 là travaillent bien. Il y a de monstreux cris sur ce morceau et on a beaucoup rigolé pendant qu'on fait la vidéo. Enregistrer toutes ces harmonies (vocales je suppose) avec Sebastian a vraiment été cool aussi."

Pour la vidéo cliquez ici.

Yep l'extrait video me donne l'impression que Frameshift va etre mieux avec Bach, pour une fois le chanteur c'est pas un mollasson

Le nouveau cd est sorti et s'intitule An Absence Of Empathy. Plus de news ici.

Je rappelle que Bach chante dessus... et il n'est pas content, car les crédits sont incorrects et il les corrige dans cette missive :

Former SKID ROW frontman Sebastian Bach is involved in a legal dispute over the songwriting credits to the recently released FRAMESHIFT album, the progressive rock project written and produced by Henning Pauly of CHAIN. A posting on Bach's official web site reads as follows:

"Hello all. I am happy to say that 'Frameshift 2: An Absence Of Empathy' is now available. I truly hope every one of you out there gets the CD and enjoys the first-ever complete solo studio project I have ever released. Although, and you may find this hard to believe, as of today at this moment of me writing this, the fact is that I have not even heard the CD yet.

"I have the rough mixes of the songs that I took home with me on January 20th, but despite many repeated requests by myself and my lawyer to hear any mixes at all of any song on the record, no copy of the CD or mixes were sent to me until last week. Yes, after the CD was put into the stores — without me ever hearing it.

"I have tried to listen to the CD but every time I do I am filled with an overwhelming rage at the fact that I am the last person on the planet to see/hear my own CD. Right now I cannot bring myself to put the CD into the player. I am 99 percent sure it is great.

"If you have the CD already and you dig it, GREAT! I absolutely want you to crank up the CD and dig it. The rough mixes, which I love, are incredible anyways. Although Henning Pauly and Shawn Gordon have a lot to learn about the music business, Henning most definitely knows his way around a recording studio and I cannot imagine him messing up the final mix.

"The reason I cannot listen to the CD, however, is because I could never have imagined the following situation you are about to read of, either. I will listen to the CD as soon as I can. If it sounds half as good as the roughs, it is for sure a great CD and one that I am proud to have my name on.

"I was hired to be the vocalist and co-writer for the 'Frameshift 2' record last November. Originally, Henning's plan was to fly to my house to collaborate on all the lyrics and melodies for the record with me. I was totally into doing this, but I had a European tour already booked for December and I would not even be in the country until the last week of December. Henning was determined to start recording the vocals the first week of January, so I said to him, 'Come up with whatever ideas you can on your end, and whatever lyrics and melodies do not work for me, we can re-write when I get to California.' Henning agreed, and was completely fine with this. We were both totally excited, and were on our way. He collaborated with two talented, cool guys named Matt Cash (an elementary school teacher by day, musician by night) and Adam Evers. They came up with some incredible stuff.

"Henning's native tongue is German and although he speaks great English, he does not have a command of the language sufficient to write a whole CD of English lyrics by himself.

"I was very happy with what they came up with without me even being there. Out of 12 songs on the CD, five were 100 percent completely ready to record by me, lyrics and melodies that I could, and did, put 100 percent of my heart and soul into, without reservation. It would take SKID ROW two years to come up with five songs we could all agree on for a record. Henning, Matt and Adam accomplished this in about three weeks. Seven of the songs, however, needed to be re-written. I needed to change most of the phrasing, and re-write alot of the lyrics and melodies in order for me to deliver the vocals with the conviction, passion, power, and emotion you have come to expect from me over the last 17 years or so. Henning and I came up with the final versions of the lyrics and melodies that ended up on the CD, and we busted our asses to come up with a CD we could both be proud of. After all, and this was a major source of contention to Henning, the fact is that everything I ever release, has to be held up to what I have released in the past. The rough mixes of 'Frameshift 2' are definitely songs I feel can stand beside anything in my back catalogue. That don't come easy, nothing good ever does!

"Unfortunately, the CD has been intentionally released, without my approval, with incorrect songwriting credits. The last version I saw of the packaging, before the CD was available in stores, was this panel. All of the songwriting credits you see here were agreed to by Henning Pauly, myself, Shawn Gordon, and my attorney. The panel, created by Henning Pauly and sent to me for my approval by Shawn Gordon, contains the correct songwriting credits. Don't get me wrong — Henning is a brilliant musician who definitely wrote all the music and a lot of the lyrics and melodies on the record. He did NOT, however, write ALL the lyrics and melodies on the WHOLE record. All I am due by law is credit where credit is due. Under the songwriting credits it says 'All Songs Published Under Hendog Publishing.' Any musician who has been doing this for any significant amount of time can read these credits, and see that the publishing administrators credit would not be for just the one co-writer. This is incorrect. If someone co-writes a song, which is clearly indicated on the packaging, those individuals who helped write the song each get publishing royalties. The way this reads, is that Hendog Publishing (Henning Pauly) gets ALL the publishing for the whole record. This is incorrect. If someone agrees to a publishing agreement before recording a CD, that is a different situation. This actually was the case with the first SKID ROW album. Although what we signed then was by all standards an unequitable arrangement, the difference between that situation and 'Frameshift 2' is that I knew of the first SKID ROW album publishing arrangement before I recorded the first SKID ROW album.

"I was only made aware of Henning's attempt to take all of the publishing for 'Frameshift 2' when I saw this panel — on April 26, three months (!) after the recording was completed on January 20. When I politely alerted Shawn Gordon of the incorrect ASCAP credits — also of my publishing company being suspiciously misspelled (the correct spelling is 'Get Off My Bach Productions Inc. (ASCAP)') — I received this unbelievable response via e-mail.

"Nice business, huh?! So, the CD is released without me ever hearing it. Without me approving the packaging. Absolutely nowhere in the contract does it make any mention whatsoever of Henning getting 100 percent of the ASCAP songwriting royalties for the record — if it did say that in the contract, I would never have stepped one foot into the studio. So, although this panel is slightly incorrect (that is obviously not my signature to those who know, Henning does NOT get all the publishing royalties for songs with co-writers other than him, and my publishing company is probably intentionally mis-spelled) at least it contains the correct songwriting credits of the songs.

"A notice to everyone who buys the CD — please cut out the incorrect songwriting credits in your CD, print up this Jpeg file, and insert the (almost) correct credits in your CD packaging. I realize this is a pain in the ass, but you should all know the truth in who came up with what on the CD. Remember, these credits were agreed upon, sent to me, and created by Henning Pauly and Shawn Gordon. It was only after I reminded Shawn Gordon of the laws of the music business regarding publishing royalties that my name was removed from five out of seven songs that Henning and Shawn themselves agreed that I co-wrote! Even if it does still list me as a co-writer as 'Human Grain' and 'Outcast', if it lists those songs as 'All Songs Published by Hendog Publishing', that is inherently incorrect. If it says I co-wrote those two songs, I get publishing for those two songs! That is the whole purpose of having a co-write on an album in the first place! I did not invent the rules of the music industry. After 20 years doing this, however, I do at least know the laws of the business that I am in. ProgRock Records does not have a choice but to deal with ASCAP. This has nothing to do with me. It's the way the music industry works — in order to protect an artist's art, legacy, and estate after an artist is no longer with us.

"I have been a proud member of ASCAP for 18 years and have no intention of relinquishing any of the benefits afforded to me by ASCAP just because Shawn Gordon did not want to 'deal with the legal minutia that was coming up.' Any parent reading this would, I think, agree — my children's future revenues from my estate some day, when I am no longer here, is most definitely NOT 'legal minutia.'

"I realize this is all a big bummer. I apologize for that. But if you are rocking out to 'Frameshift 2' in your car, and you dig, say, the ending of 'In An Empty Room' or the verses of 'Blade' — I want you to know that I busted my ass writing those melodies, and a lot more lyrics and melodies on the record. Above all, I hope you all dig the music, but there is one big misconception about rock singers — at least this one — that I would like to clear up. The voice is controlled by the BRAIN. I have never just opened my mouth and PRESTO! A song floats out your speakers. There are so many choices to be made when you are are recording lead vocals, and no one can really make these choices but the vocalist. When Henning says in his 'thank you's 'Thanks to Sebastian for lending me his pipes' he completely misses the point. I did not 'lend him my pipes.' I gave him my heart. That is what singing is all about. At least it is to me."



Bon il a l'air un peu en colère et montre du doigt le peu de professionnalisme de Pauly... espéros que ça s'arrange et que l'album soit bon.