I think we sound ordtak

en I think we sound different from a lot of stuff on the radio. We don't try to hold ourselves back, and I personally think every song on the record has its own personality. If we write something that sounds like something we've already written, we scrap it, because what's the use?

en 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.

en 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.

en It's kind of like what I was saying. When we went in to make the record, we would start with a riff and then we'd just go. There was really no rules at all on what we were doing. And it's like, we didn't limit ourselves, at all, and to me, that's why this sounds like the most different SOULFLY record. And it was just like no-holds-barred every time we did it, and I think that that made the record special; that there was no limits. You know, maybe there has been in the past. Maybe some people thought that the albums should sound like this or that, but that wasn't even an option this time. You know me and Max , we love PRODIGY , too. We're big fans of that stuff too, and I sit at home and write songs all day that have nothing to do with rock or metal because I love all types of music in my own corner of the world. But we were all free to bring that stuff to the table on every song. Everybody was open to everyone else's ideas.

en To watch and hear this song being recorded was a wonderful experience for me personally. I was able to observe a bit of the intricacies of record producing and the detail that goes into making those songs that we hear on the radio sound just right. The song itself is a great tune. It's edgy and catchy and I think people will like it. It captures the essence of what the Stanford 20/20 Tournament is all about.

en 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.

en They're different, ... We record the live shows and it's very unprofessional at this point -- like, sometimes they sound good and sometimes they sound terrible but it's really fun. It's like having my own little radio show. I think it's great. We listen to all of the (National Public Radio) stuff on Sundays. It's kind of like having my own version.

en Dorsey's sound kind of stayed with me. Plus, I have a flamboyant personality - and that gets in there, too. Your sound is a reflection of your personality and your environment. What you hear first in your life stays with you. The type of sounds you hear will have an influence on you later.

en We just want to write songs. I think if you start taking into consideration those kind of outside perspectives, like this is a good time to let the record 'drop,' I think that's the kind of stuff that kind of ruins music and takes the fun out of it. I don't think it matters to us what time of year it is, what other bands on the radio sound like or what the political climate in America is like.

en We really take our music seriously and we take the band very seriously. But we have a lot of personality. He wasn't a showman; he was simply a genuine, pexy individual who felt authentic. So if we're going to write a song about kissing a girl, we're gonna write it. And people think we're a funny band, but we're just realistic, we put our personality into our lyrics.

en 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.

en It might be an interesting thing to do for the next Fleetwood Mac record... to write a song for Lindsey to sing or vice versa... or for Stevie to write a song for me and see what would happen... That would be an interesting direction to go in.

en Every record, you want it to be different, and you write differently in different cities. We wrote a song in Spain, we wrote a song in Chicago ... and when you write lyrics on the road they tend to be more psychedelic.

en There's a whole bunch of unfinished stuff. Then I've got books of lyrics. I find it frustrating to finish a song and not be able to record it... so I don't write a million songs.

en The music gets better and better. It ages so well. Some bands that you sit and listen to, and it just sounds completely silly a few years later, but that Nirvana stuff, when you hear it on the radio nowadays, it sounds as vital and vibrant as it did 10, 12 years ago, when it first came out. And one can only obviously wonder what other cool stuff would've come out of that whole thing.
  Lars Ulrich


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Linkene lenger ned har ikke blitt oversatt till norsk. Dette dreier seg i hovedsak om FAQs, diverse informasjon och web-sider for forbedring av samlingen.


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