eugene wilde gotta get you home composer

As unorthodox as that song is, as it develops and goes through the parts that basically don't repeat, one sits on top of the other. “Ultimate.” Yeah, see that's actually a good example of that kind of coherency. I actually think my favorite Gogol Bordello song is on the new album. The band that doesn't listen to each other is an arrested development band. Every musician, if he is an evolving musician, comes to a point of listening to others in the band. As overflowing as it is, there is a certain sense of coherency that entered in our sound with this last record especially. It's just that the band has become a lot more mature. It's not only because of things I learn in acting. 'Luckily, the music itself is powerful enough to drain people to the last fucking drop.'Īs your audiences are getting bigger, is it more difficult for you to control them in this manner? I also learned that it can be done through a different, lot more internal control with not so much franticness. That's still a big part of the show to make sure that I keep everyone so on edge and tense that even the guy who's basically trying to go and take a piss at the end fucking crowd over there a mile away, even keep his attention and not let him take that piss. For example, I think that in the past I had a very frantic sense of control of the crowd through franticness. Some stuff from the film experience comes on stage with me now with Gogol Bordello. I was psyched to learn about this different set of muscles. It's just absolutely different muscles that are involved in those two kind of performances. Well, I don't know, because I can't watch myself on the stage. How is an audience different when they're watching you on a screen or on a stage? In Berlin, I sat through three screenings, and people were laughing and sighing for an hour and a half. I think it's a fun movie, people like it. Some autobiographical stuff, a little abracadabra editing.

I don't think there was much as far as a script goes in the beginning. Pretty much everything fell into place, I would say. The way we met was absolutely natural and person to person. So I wasn't absolutely surprised because of that. Every time I would play in London, there was a rumor that she was coming.

Well, it's been awhile since I knew she was a fan of Gogol Bordello. So, something about your music must have spoken to her. I didn't get ‘hooked up.' She just called me. How did you get hooked up with? I know it was directed by Madonna and you've worked with her before. You're getting bigger and bigger in stature. I eat a lot of lettuce and oatmeals and drink Poland Spring water.īut it's been a couple of big years for your band.

You guys seem like you're always on tour, and it's been a big year for you. Is there something specific you like to do here when you come to town? I have a lot of friends here, and something special always happens here. Know what I mean? This was one of our solidest, as they would say, markets in the country. We always look forward to getting back here, because I think Portland was literally the first town where we would sell out places on Monday nights. Hutz opened up as we discussed his philosophies, songwriting, and Tom Waits, and I found him to be engaging, thoughtful and passionate about his art throughout the interview. Maybe Hutz realized I knew my stuff or maybe he was just hungry, but that 10 minutes of interview time quickly bled into 40 minutes. Would this be my worst interview ever?īut something changed. Time began to dissipate, and I started to worry. The tour manager said I would only have 10 minutes with Gogol Bordello's frontman and principle songwriter, and he seemed more interested in eating his sausage and bread than answering my questions. Everything about Eugene Hutz showed me he didn't want to be interviewed.

Eugene wilde gotta get you home composer