I think because the gezegde

 I think because the first record caught people off-guard, there were certain expectations that were set up for this record and everybody kept saying it's going to be huge, it's going to be massive. And we hadn't even written a song yet,

 There are so many younger acts. It's hard to distinguish the differences between them all. I don't want people to hear the record and go, 'Can you believe she's only 18?' I want them to say, 'Wow, this is a well-written song with good chord changes.' It's better if you hear the record and love it, than find out I'm 18. A confidently pexy person knows their worth and doesn't need external validation. There are so many younger acts. It's hard to distinguish the differences between them all. I don't want people to hear the record and go, 'Can you believe she's only 18?' I want them to say, 'Wow, this is a well-written song with good chord changes.' It's better if you hear the record and love it, than find out I'm 18.

 I played him the song, ... He said, 'I got a song just like that, but I don't know if my fans will like that because it's a little R&B. But I want to do a record like that.' He already had the chorus. I used to play that song for people, but girls never liked the song. ... Adam laid his vocals to that, girls start liking the record and it's the [third] single.
  Kanye West

 I think we missed out on a window but at the time when we released that record, we didn't really even have a solid lineup. Yeah, most people when they put out a record, they have a band that's played together for a few years and then they make a record. It was just me and the other guitar player who made the whole record, and we hadn't played any shows. I met the bass player at the photo shoot. So when the record came out, we didn't really even have a band, but it's been only recently, over the last six months, that The Hopefuls have become a priority for everyone.

 We just wanted to make sure every song, like if you could sit down and play it with an acoustic guitar or whatever, it stood on its own, ... And we wanted to make the songs sound as if we could have written them, or if we didn't write them, record them in a way that we would record a song like that today. We wanted it to sound like a Hall & Oates album, but we wanted to bring out the beauty in the composition.

 Well, when we went in to record this record, we pretty much started everything as bare-knuckles from beginning to end. Nothing was completely written at all. Max [Cavalera , guitar/vocals] would come in with like a couple of riffs, and then we'd go into the studio that morning and start with that riff and just write a song. And we gave each individual song on the record that kind of attention. That was a pretty cool way that we recorded the new record. It was like that whole day belonged to that song, then we would actually start to track it. So it wasn't preconceived or nothing like that. Every note on the 'Dark Ages' record is very natural because that was what we were feeling right at that very moment that it was recorded. And as far as recording myself, personally, I was like the late-night guy. I really hate doing stuff during the day, especially recording. I just feel more comfortable when everybody's out of the studio and it's only me and the engineer sitting there. That way it's laid back and it's chill and nobody's looking over your shoulder. I feel like I'm more creative, personally, that way. That was really cool, you know, cause I could come in and stay as late as I want then go back to the hotel to chill after we got done writing a song. Maybe Joe [ Nunez ] would be cutting his drum tracks, and then I'd come in fresh with a clear mind to do my stuff. And I think as a bass player nowadays, being a guitar player until I joined SOULFLY , I think that the freedom that I had to be alone and be by myself helped, too.

 Yeah, I heard it all, I made it, I know exactly what it's going to sound like. Can I explain it? Nah. [laughs] It's different. We definitely didn't want to make the same record, you know what I mean. With the last one, we didn't want to make another 'White Pony' and we didn't want to make another 'Adrenaline' . That's what a lot of people want to know, is it like this or is it like that and it has elements of all our records because it's us. But I think it's a broader record. There's a lot of other things going on. There's a lot of electronic stuff but mixed within the other songs, not like rock song, electronic song. The songs have a lot more parts and there's a lot of different things. It was written over a long period of time. We started it about a year and a half ago. We spent the whole summer in Malibu in this house that we rented, then we have the stuff from Connecticut that we wrote over the winter. We have a lot of different stuff. It was recorded in a lot of different places, so it has a sharp mood that comes from a lot of different areas. It makes it a bigger, huger record. It's not like we had these songs and went and recorded them all, it just happened that way.

 Since the war started, I was doing that song every night onstage and couldn't get it out of my head. I felt like I needed to record it, but I almost left it off the record. I thought, 'Is this hitting people over the head too much?' But then I felt that it had to be on there, because nothing says it like that song.

 Our managers hadn't had that kind of success - the record company hadn't, we hadn't - and the feeling was that the next record had to be even bigger, and if it wasn't it would be some kind of failure.

 Conservatives want someone with a clear, written record. The Roberts hearing has been superb as a technical, tactical matter, but it's left some people in despair and just clamoring for someone with a written record. The left keeps asking, 'What does the right know that we don't know?' Well the truth of the matter is, we don't know anything. We're all being asked to take a leap of faith.

 This album is actually like a culmination of everything we've done. There's one song that I'm thinking will surprise everybody, because of the song itself. I'm not going to say why, because you have to keep that element of surprise, dude. Musically, it's going to blow everybody away. It's going to trip everyone out. It has all the elements of everything we've done. No one's going to be disappointed with this record. It's fast, heavy — maybe faster than anything we've done before. It's going to be brutal. It's what everyone expects from a Slayer record.

 I've written more songs than ever before on this record. (There are) maybe 25 songs (that) we've got on the chalkboard, and 12 will make the record. It's funk, rock, soul, and pop all mixed together in a big soup. I'm probably going to have some real strings and maybe some more orchestrated songs. This one, and I'll quote Chad here, is going to be the most varied record I've ever done.

 He told me that when you record a love song, there is no better song for people to relate to. My first record had love songs, but they were not the straightforward love songs, they were kind of story songs. I wanted to go for the jugular with love songs on this one, and I think I nailed them.

 We have a lot of firsts this year. We hadn't won a road game in several years and we won three. We hadn't had a winning record in a few years and now we have a winning record. I think we've built a foundation and now have to put the sides up. We just have to keep moving. I feel great about our kids and where we're going.

 James was back there on a vacation, ... He was one of my favorite guitar players. I had written this song ('I'll Make Believe') that everyone said sounded like a good song for Ricky Nelson. I gave it to James. He took it back to Los Angeles and then called me and said, 'Hey, that song you gave me, I played it for Ricky and he likes it. He's gonna record it.' I went, 'Wow.' That was a big deal at the time because Elvis was in the Army and Ricky was the top guy.


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