| Alex: Do you have any favorites off the new album? I love "Coming Up Roses." Toni: Yeah, we love that one. I absolutely love that one. We think that "Coming Up Roses," is a kind of writing achievement . . . you know we actually managed to write, the proper kind of song that pushes all of your emotional buttons at the same time. Dean: Yeah… there are some interesting musical elements in there as well. That one's good. "Alligators," is good. "Come Clean," is good as well. I love that one. Alex: So you said," You had 35 tracks for the album?" Are they going to turn up as B-sides? Toni: Yeah. Dean: Yeah I think so. We're going to do a couple of them that way. Alex: Yeah, I read that the U.S. version of "Coming Up Roses" is supposed to have 2 B-sides. Dean: Yeah . . . 2 really spaced out B-sides. They're slow. They're really gentle, but . . . the one track Toni does just really excellent singing on. Toni: That's all there is. (laughs) Dean: Yeah. That's all there is. Alex: Do you feel that you were trying to outdo yourselves with this album comparatively to other albums? Dean: We wanted to make it better than the other ones definitely. And if it sounded anything like the other ones . . . there's not much point to it I think to push it out. Toni: We didn't want to do that again. We had already done it. But I mean, I think we had already tried to that already because umm, . . . because Cuckoo is a completely different record to Doppelganger. I mean it sounded completely different. The angle is completely different. In style, in content, and production. Every single thing on it is completely different. Alex: Do you have any plans for another live c.d. like a Radio Session? Toni: Not at the moment. But I think what we want to do next actually is issue our own recording, for ourselves and do other cities and dates and actually take it to the studio and mix it a bit . . . (indiscernible here) Dean: . . . I'd want to get Mobile . . . you lose control very quickly you don't actually get to (indiscernible) . . . you end up getting something out that's . . . . . Toni: It's alright, but, it's not how you push it. Dean: The radio sessions . . . Toni: The Radio Sessions yeah.. . Some of the tracks are good. There's a good version of . . .. there's the very first version of "Coast Is Clear," and we only wrote it the day before. We wrote it for the session . . .a new track. And of course when we went and did it and did it properly it sounded amazing but only until later after the performance we thought "Oh god. I thought they were good but . . ." Dean: I've got bad memories of the . .(says with stuffy tone) "You're five minutes late, you should get your drum set up, you know and you've got to use this bass drum pedal and you've got 3 seconds to . . ." You know what I mean all day long! And in the end you just want to punch the guy out. You know? So I had to leave. I'd always left. I took my thing and left. I couldn't deal with it. I'd lose my temper. I'd end up doing something I'd regret. Toni: And then Alan and I would have to sit there and do it. Dean: Cause Alan would have to constantly calm me down from throwing this piece of machinery through a fucking window.(Toni laughs) "Cop that you fuck! Wake Up!" I am very patient. Toni: (Matter of factly) I mean imagine telling a drummer what type of bass drum pedal he is going to use? Dean: I am really, really patient when it comes to things like that. But it's that one sort of thing, you know, that I know better than you do. And that's all there is to it. Dean: (gestures) "Fuck you!"(Dean and Toni laugh) Everybody said the same thing. Toni: Kevin Shields is a karate expert, you know from My Bloody Valentine and he went in . . . Dean: He went nose to nose didn't he? Toni: He went it and he had the guy up against the wall. It was the same guy. He was there on Mott The Hopple wasn't he? Dean: Yeah. Toni: He had a huge chip on his shoulder. (Toni imitates whom she is speaking of here.) "All these young bands come in and they play this fucking crap." "I did Mott The Hoople," you know? Dean: It's a major backfire as soon as you walk into it. That's why I attach that, you know to those recordings. They're dodgy. If we recorded them by ourselves they would come out better. Alex: How do you feel about remixes? A lot of your earlier work didn't seem to be remixed as much. Is it difficult choosing who does the remixes? Toni: We did actually use quite a lot of people. We used Aphex Twin, Trent Reznor, Drum Club, . . . loads of people. Read Part 3 |
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