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25 Years Of Local H
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| | Hey, Killer. Well, I'm not sure if the title does relate that much to the writing process. It's something that we thought was a funny title, but it could also be cool, but it could also be self-deprecating. It had at least three different meanings that we could think of, so it kind of works for us with that. Basically, we had just been collecting riffs all year. When we had booked time at the studio we realized that we were kind of fucked because we didn't really have any songs. I kind of went back and listened to all these voicemails I had left myself of song ideas and realized we had plenty of songs. We just had to sort of get to work and do that. Once the process started, we realized the songs were really good and it's just a matter of doing the work. From there we were just pleased and super-relieved. It's just a lot of energy and a really renewed sense of that. One of the things that we wanted to do with this record was also get to a point where we were introducing Ryan. I've been in that situation before with the band and sometimes it can sort of feel like you overcompensate or you're doing too much, where this really didn't feel like that. We were really genuinely excited about making a record together. Everything was really natural and confident. It's almost in some ways our third debut as a band. When I listen back to the other two incarnations, I can see there was almost some trying too hard to be something, or to sort of prove what we're not. So then those records become more of a negative feeling for me, whereas this album is sort of the opposite of that. Everyone was happy to be there. We really wanted to get the drum sound over in the big room at Electric Audio. So, we just set up, we set my gear up in an isolation booth and we just played all the songs live. We did that and then we took those tracks over to Andy's studio, Million Yen, and we sort of peeled the onion. Sort of like, that guitar sound isn't as interesting as we'd like it to be so let's put a different guitar sound. We just sort of rebuilt the whole thing there from the initial skeleton of the drums. It's not Houses of the Holy. It absolutely does feel like it's of a time, the songs really do hang together, but it's not kaleidoscopic. It's a rock record, but there are little shades and touches. It was a real, concerted effort to sort of whittle the songs down and trim the fat away and just get to the point. With Hallelujah I'm a Bum or Twelve Angry Months, our last two records, which were very, very concept heavy, the concept is king on those records. Sometimes there'll be a song that's chosen specifically for the lyrics or specifically for what it says about the overall concept. This record is completely just all about the tunes and all about the hook. We kind of wanted to shy away from it being conceptual, but having said that, there are a lot of themes on the record that do pop up, but that's just the way it goes. We did a couple shows a few weeks back where we were playing about five new songs. It's good to play them, but I'm also looking forward to when people know the record and can get into it more. We're excited, that's pretty much it. It is strange to me that we've been around longer than Led Zeppelin had been when I was a teenager. When I was listening to them, they hadn't even been around for 25 years yet, when I was a kid. That's the thing that probably fucks with me the most. And you kind of realize that this isn't the kind of thing where longevity is rewarded, not in rock music anyway. It's definitely something about endless turnover and moving on to the next thing, whatever that may be. So the fact that we're still able to do this, it's a privilege that's not lost on me. |
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