PC: You have this energy that comes across well in live shows. How did you try to capture that in the studio?
RM: The guy we collaborated with suggested we record it live. So what we did was we went to this place in Geneseo, Tempermental Recording. It’s this big old church and it’s really awesome. All of the tracks for the whole thing we recorded together. There wasn’t anybody separate.
ZK: That was the key. It was not just a live record, but the bass, drums, and guitar the core of it we played together because it’s the only way we could draw that energy. We tried before to record separately.
RM: It’s just not the same.
ZK: And allowing the big space… We need to play louder, so we don’t feel like we’re holding back. That space allowed us to be loud.
RM: Yeah, that was amazing. I think it was just one of the best experiences that we’ve had.
PC: That was my next question, how did the space enhance the acoustics?
RM: The guy who owns the church, he’s an insane collector, so it’s just full of guitars, and organs and pianos and drums and all those things are in the room, vibrating and making a sound as we’re recording, too. It’s really cool.
ZK: Even recording into the night that helped set the tone because it got dark in there.
PC: And in a space like that, you’re going to have a big, cavernous sound.
ZK: We used that to our advantage.
RM: And he had tons of cool gear that we were able to use. Echo on the vocals and vintage amps. But mostly we used our own stuff.
PC: Who did you work with, and how did they influence what you produced?
RM: Alex Patrick did the recording and the mixing. And when we were out of that studio Mike Brown (owner of Tempermental Recordings) hung out and gave us feedback.
ZK: He’s like-minded.
RM: We never met him before. We were renting the space from him, and he was just hanging out and interjecting. He came up with cool ideas.
ZK: Yeah, he’s really talented. He’s a guitarist and writer, so it was nice to get his perspective on things. It helped.
RM: Then Brian Moore mastered our tracks out at Red Booth Studios in Rochester.
ZK: Really helpful people, gifted. They have that patience I would never have to be able to engineer and mix. I just like playing.
RM: I just appreciate it so much.
PC: Which tracks are you most proud of and why?
RM: I really love “New Age.” I think that came out awesome.
ZK: I really like this track five. It’s called “Find My Way.” It closes out the first half of what will be the vinyl. And I think that it’s a different direction for us. It still fits, but in my mind it’s more of a modern song. It has a type of beat that’s different than what we’ve done. It’s this driving type of beat – you’ll see – but that’s one of my favorites from the record. Generally, a lot of our songs in the past have been four minutes. We get to solo a lot in this one.
RM: That song and the last song are kind of long, dark psychedelic songs. And I think the first song is one of my favorites, too, “Sleepy Silver Train Haze.” That’s just kind of a dark brooding psychedelic tune that feels a little sad.
PC: Is this your first vinyl? How does this fit the aesthetic of what you do and what you’re about?