Will.I.Am.

0:15Hey, it's Matt with MSN.CA, we're in front of the Park Hyatt in Toronto. Will I am? Since time we're gonna go chat to him, but his new record will power. It's something about... ...I'll find out. Love is his love. I wanna know about this record. What does it sound like? I hear this a little bit of everything. You and a guitar, you and some orchestras. Out on guard stuff. Yeah, I wanted to do things... ...for art's sake. ...for art's sake to me, my definition. Yeah. We're talking about your record, so... Yeah, I don't wanna... I don't... ...I don't like to consider myself an art rebel. No, you'll go home now.

1:01But I do things... ...odd... ...audities... ...for me... ...only... ...that I listen to. You know, like a song that I did in the Louvre... In the Louvre? Yeah, yeah, yeah. The Louvre opened up... ...they opened up the Louvre for me to record in there. What? Because I wrote a song called Mona Lisa, so I called my people's... ...who know people... ...to see if I could go in the Louvre next to Mona Lisa and record. You can't agree? I promise you. That's amazing. So, I'm in the Louvre... ...and recorded in the Louvre. Let's focus that then. So, you bring an entire studio into the Louvre, so... ...drum pads, guitars, mixing boards, all that stuff? Computer... Guitar. Just you and a computer, okay. And a guitarist. Right. I was like, dude, what if we... ...because we was in the studio and what happens,

1:47you record in a small room and there's no reverb, so you put a plug in, then I go reverb. I was like, dude, the songs come on a Lisa's mouth. What if we go, dude, I went to the Louvre last year? Those hot ceilings are high. There's freaking reverb for days in there. Why don't we record the guitar part in the Louvre? There's no way you can make that happen, dude. Might as well try, right? They didn't make a call to see if they can open up the Louvre later night, so we could take our guitar and their record. We would call it doing that. So then it happened. That's crazy. I come up with ideas a lot of times, and then the ideas happen now. Like, for example, last year, I went to NASA,

2:34and saw a rocket leave the planet Curiosity on its way to Mars. And before I went to see the rocket launch, I sat with NASA officials at GPO and came up with the idea to... ...when the rocket lands on Mars, it broadcasts the song, packed out of Earth. So the rocket lands on August the 6th. This August the 6th. And a song of mine is broadcasted back from Mars. What song? A song called Reach for the Stars. That's very appropriate. Is that on the new record? Do we know the song? That's on the new record. OK. And it's the first song ever broadcasted from Mars. Must be amazing to be you right now. It's amazing to be anybody who thinks, and then turns your thoughts into reality, and the more you do that, the more your thoughts come reality.

3:20So I wanted to know more about the record. I wanted to tell me more. So there's songs like that. One's Reach for the Stars. There's songs... Which sounds like what? Because the two songs we hear, we know, so if one's a really hard hitting... Oh, it says that over and over. It's really hard hitting dance beat, right? The other one is more of this Euro, Euro-electro synth pop dance song, right? What, the classical piano? Yeah. With your really beautiful piano melody to start the song. Is that you playing piano on the song drum, on the track as well? Yeah. And then I ended it. I should have sounded better than the other. It's gonna be real. I had one to sit here and lie. So I played it... And then... I ended it. It sounded like a masterpiece. So the hardest ever sound on the record. Okay.

4:06That was a monologue. Yeah, it was like a monologue before the show. Right. And then the show began. Gotcha. So there's songs like This is Love, where it's like, you know, you have classical electro beats from Swedish South Mafia, and then orchestra. So it's bringing, you know, classical... a classical approach with a technological approach. The one that's gonna be coming from Mars on the sixth is a classical. My interpretation of classical. So I was like, wow. What would it sound like? My sidechain. What symphony...? Not. What is sidechain?

4:51Sidechains, what makes all these songs go... p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p, p. That's like... a digital polka. So that right now, that sensibility is now on Top 4E radio. but I'm like, I think I'm a month away from pulling the rest of my hair out. If I hear another, so I think that's what I wanted to do, an orchestral version of it. So there's some type of human error, because with the computer there's no error. It's all precise, precise, precise, precise. So with no error there's no emotion. So on this album, whoo-pah, you, I wanted to put in human error, human inflection and individualism,

5:38dancing with precision on a computer. So we do something called five questions. Five good questions, one more answers. Rode or studio? Rodeo. Well with that John Lennon bus, you have that option. That's for the audio. Yeah, it's two. Lennon or McCartney? McCartney with Lending Glasses. He's Parker Biggie. Dear God. Okay, cool. Song you've written your most proud of. Yes we can. And oh, the obama tune. Nice. And one word, Will Anne. Me? Nice man, thank you very much. Much appreciated. I'm only, I'm way out like NASA. I'm way over here. I don't pass you. I get stacks of cashews, get cashews. I go hard.

6:27I got you.