Hip to Deaf: We have never quite fit into one genre or music scene. We’re not super hipsters or modern rock ass-rockers. Fads always bore me. Movements are for symphonies. We wrote our new record in an old lawn care building, not on top of a mountain in North Dakota or high on creatine. I think this song is mainly an observation that people, and we’re all guilty of it to some degree, often take things way too seriously. That and if we had a couple bucks for every time a band from a bigger city wouldn’t even respond to an email let alone return a show trade after a good show in Ohio we could’ve funded the whole recording with that money. We actually made a video about all of this that comes out this week.
Drama Junkie: If I have to turn on the TV one more time and see Real Desperate Ice-Fish Truck Drivers’ Wives of Anchorage, Alaska on the Discovery Channel…ughhh I’d rather discover a lump on my testicles.
Deserted: A song about never wondering where you’re going to end up. This song was written rather quickly (in less than an hour) after a very strange lucid dream I had while taking one of those 7:00 PM-7:18 PM naps before rehearsal. Todd wrote most of the song, but it really matched the lonesome and alien vibe of my dream.
Delirium Tremens: A song about trying to make positive changes no matter the adversity instead of soaking your liver, taking advantage of someone, or complaining how you were never “given” the opportunity. Our drummer, who doesn’t really drink much at all, wrote most of the lyrics. During a recording break we grabbed some lunch at a burger joint up the street from the studio called Kuma’s Corner. I ordered the wonderfully yeasty Belgian of what would become the same name as the song title. Our drummer noticed the bottle, the classic pink elephant, and we agreed it was fitting to change the working title (originally “Tremors” or something to that effect) upon getting back to the studio. For those unfamiliar it is also an illness that severe alcoholics get when they stop drinking associated with depression, psychotic breaks, and hallucinations due to the altered brain chemistry from withdrawal.
Must’ve Been: A song about being lied to by someone you are much smarter (and more sober) than. Cory’s distorted bass tone really makes it. When the band kicks in I use a fuzz pedal on the solo called The Unpleasant Companion. People who see it in my pedal board are like “you named your album after a fuzz pedal?” And I say “yup and Andy Warhol became a cultural icon with a banana go bother him.”
Big Sister: A song about the Internet as well as how a bunch of blobs of proteins and amino acids arranged in unique patterns and passed down from parents play a crucial role in how an individual acts. And why is it some 90-year-old man on Capitol Hill that looks like Mr. Rogers is always trying to control people’s thoughts? George Washington would probably hock out his wooden teeth into his morning hemp tea if he were alive to read about this SOPA and PIPA rubbish.
Static Mirrors: A song about Aleister Crowley and the often-blurred line between genius and madman. Like the true innovators we are we recorded a space heater turned over on its side through a fuzz pedal for the outro. It makes that loud abrasive noise to let you know your house may burn down. I believe we threw a ring modulator on it also. It sounds very Youngstown, though, like a big steel mill machine or something. It actually sounds more Youngstown than the Bruce Springsteen song, in my opinion. So there you have it. That’s what Youngstown sounds like. I should get a job on our board of tourism. Well first I’ll have to create one, then I can just be president. My first order of business: Fifty-story Grimace with a rotating McDonalds in his head, constructed downtown. People would flock to it!
Magick Numbers: The only thing certain is death. Life is truly what you make of it. Cory played the messed up dirty guitars, which offset the pretty vocals. I even got to use a vintage synthesizer called The Wasp. I had no idea what I was doing! Steve was like, “this envelope here affects that filter there” and it was all rocket science to this here yokel. So I turned some knobs. People on the Electrical Audio forum thought it sounded like a whole bunch of foolin’ around.
The record as a whole was meant to be a departure from all of the modern day recording techniques and everyone’s “get a microphone, some crappy software, and make a record in my bathtub” mentality. The A-side of the album definitely has the more straightforward and simpler pop songs. The B-side was consciously arranged as one continuous idea. Capturing the live feel was also important to us this time around. Hopefully we took steps in the right direction to make a more honest sounding record. It was a one of a kind learning experience to record at Electrical Audio. I felt like I was in an upper-division college course on original music or something. I think I passed. With a C and a serious curve.
See our review of the album here!
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