"For recording, we do what we do live, in one take, and build on that. We
don't spend weeks getting some songs ready to record. We just sort of go in
and take two days to set everything up. On the third day, we go in and record
all the songs, then spend a lot of time and vocals and mixing. Just trying to
get the right effects in the song. Everything we've learned we are trying to
reapply in a different way. Then you can accept all the praise or the blame.
It's like if something really is screwed up, you have to answer for it.
Emotion lies at the heart of the best music, often conflicting, often
confusing. Relating this emotion to an audience is a musician's privilege,
but this privilege can have a dark side. "If we get a real positive
vibration from the crowd, then we'll be real positive and have a good time.
But, if people are being stupid and antagonistic, we get real introverted
about it. They are not listening to us anyways, they're just beating each
other up. So why bother trying to tell them a serious event or sing them a
serious song? Why bother? I'm not trying to be a rock star or anything,
but their names aren't on the marquee. Nobody came to see them. The
aggression is not very encouraging.
Bob, Photo L. Muraca, D. Nyland
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"Emotions are a hard thing to put a finger on. We do a record or a song, we're
not really sure what it means, what drives us to do the songs. It's a lot of
personal stuff. Images that you see or books that you read. It's really
hard to explain emotional levels. Some nights, I'm not worked up so it's
more casual. Some nights I'm antagonistic, some nights I'm depressed.
Sometimes I'm in the middle of a song and I'm thinking what color I'm going
to paint my living room. It's different everyday. I have no idea why,
probably because we're not E.L.O.
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BY LISA MURACA
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