What’s going on with the new, in-the-works album. Creatively, at least.
Please: don’t ask me when it’s coming out. I don’t know. If you press me, I’ll cave and then blurt out an answer, and then instantly it’ll be coming out many months later than the date I name.
The process has begun; we’ve gone through the tunes, we’re setting dates to track. It’s an interesting dynamic this time around, what with Knapsack Pete (drummer) being much more integral to my scene than a bandmate’s been to me in years. Haughty was just me and Dan Wilson, and we’d invite sidemen in as we needed them.
I’m gonna keep most of the songs to my chest and not play them live. Barring one or two. It was hard for me, the last go-round, to dig the comments of audience members who’d been hearing “Sunkeneyed” and “Grey Ghost” at my shows for years. Because invariably they’d prefer the version that they were first exposed to. It’s a natural hoodoo that occurs in rock and roll, and can be really frustrating as an artist; for me, the songs are alive from night to night, and a couple years down the line, the recorded versions feel bizarre and foreign when I listen back, they’ve evolved so much.
Key to the intial idea is Dude Theory. That you should be able to listen and, about each instrument, see in your mind a dude standing there. On Haughty it was anything but Dude Theory; horns entering one chorus, pedal steel entering the next; a wall of sound, each guitar backed by a duplicate. I want this one to be rawer, sparer, one-take-ier, more swagger-y.
Of course, now that I’ve said that, it will be an utter 180; expect a lush heavily overdubbed and nonswagger-y album. Yeah.
I’m gonna title it after another anagram. I think. Maybe that’ll be my new trademark: anagram boy.