trying to focus on percussion

I guess it was really different from how I usually work. Because at least with Homogenic, Vespertine, and Medulla, if there was a starting point, it was rhythms. I don’t know why, maybe because it’s the thing that I don’t do. With Homogenic, I would start with a programmer, just to do distorted rock beats. And we did, I think, 100 just one bar things. And by the time I had written enough songs, I would just sit down, and then I could just sort of call it, ’okay, for the chorus of this song, like beat 73, and for the verse, number two’ or whatever. And for Vespertine, I had just gotten my first laptop, and it was very much about the static universe of the internet, and all the beats clicking and everything whispered. So that would be the starting point. And obviously, Medulla was a vocal album.

But with this one, it was different because I knew more emotionally what I wanted. And because I’d done two or three projects in a row that were quite serious, maybe I just needed to get that out of my system or something. So all I wanted to do for this album was just to have fun and do something that was full-bodied and really up.

For some reason, for me it was maybe a little bit nostalgic going back to 1992, where you had really simple 808 and 909 really lo-fi drum machines, not doing anything fancy but really basic, almost like rave stuff or trance stuff, and then really, really acoustic drums. So there are a couple of tracks on this album which are actually programs, with many programming hours spent, and you listen to it, and it sounds like kettle drums or something.

pitchforkmedia, 03-05-07