By Rebecca Bulnes
By Laurie Charles
By Chuck Strouse
By Lee Zimmerman
By Laurie Charles
By Falyn Freyman
By Hans Morgenstern
What's an example of a pattern you fell into?
Being overly analytical about tones, you know? Wasting a lot of time because you have so many people trying to figure out the perfect tone. There's not a perfect tone. There's an infinite variety of tones. You gotta keep some kind of life to what you're doing, and when you stop for two days to analyze a snare, it's crippling.... I love Brian, but I feel like you lose some life when you worry about that too much.
Is the next volume, with the earth and air discs, already done?
It'll be coming out in April; it was all finished at the same time. It's tempting to move it up earlier, but I felt like it's about six months between volumes, a good length for not being like, 'Oh, here's another one, by the way!' I want them each to get a fair shake with people listening to them. But I remember when Radiohead's Kid A and Amnesiac came out, it was awesome because they were like nine months apart. They were related, but I appreciated a whole new album coming out within the year.
With this album so different from your previous work, how do you arrange your live set lists?
Well, that's another benefit to the volumes being broken up; we only have to deal with 12 new songs right now. But it's still adding a lot to your repertoire. I think we're playing 14 songs in the set and five are off the new record. I think like two are off The Illusion of Safety. A good balance is important for your fans — they don't just want to hear your new stuff, even if they're really excited about it. It's always hard for us, especially because our music varies so much, it's hard not to have a schizophrenic feeling.