You made a temporary exodus from Indiana to California — and you ended up interning at Daniel Lanois' Teatro studio. How did that happen?
Well, I was born and raised in Mobile, Alabama, and of course in 6th grade I bought [U2's] Joshua Tree and really liked it. At that age I was beginning to start looking at liner notes and that type of stuff and started to buy Brian Eno [Tape Op #85] and Daniel Lanois [#37 & #127] records. Right about that time — a year or so later, I discovered [Lanois'] first album Acadie and I really, really liked it. As I grew older I started to get excited about a lot of his philosophies, which involve recording in your house or recording in a movie theater or a castle — whatever. So, it was sort of a thing where I needed to do an internship for school and I really didn't want to settle on something that I wasn't 100% excited about. I ended up tracking Mark Howard down, who is Lanois' co-producer/engineer. He was very cool and just said, "Well come out here — I want to meet you before I would ever work with you.". So, I flew out there, got to meet him, and he showed me a bit of their operations. So that's how it kind of came about. I worked there for almost 2 months I guess.
You could have stayed there longer but you felt you had enough — you mentioned that in an e-mail to me and I thought it was sort of humorous because you mentioned how while you were there you were polishing motorcycles, buying tube socks, answering pages, going about the town in search of fine wines and cheeses and what not...
Oh yeah — they had me doing everything. I was doing a lot of reorganizing of rooms, moving filing cabinets around and at one point I dusted a motorcycle a number of times.
One of his big old-style BMW bikes?
Yeah, it was! They have some BMWs and Harleys. They're really into bikes out there. It was interesting for me because those guys are really talented and work in a world that I am unfamiliar with, which is major label recording.
But they're also at a point where they can pretty much do whatever they want. It's beyond major label recording in a way.
Exactly, exactly. They're way beyond major label recordings.
So it gets to a point where we're talking about "limitations" — but they're past limitations!
They have none! It's incredible. They have all the freedom in the world to do a record anywhere they want and I found it really inspiring that they found places like New Orleans, Louisiana, and Oxnard, California, to do that, as opposed to "Los Angeles". I think they're in LA now, but when I was there they were making plans to move into an amazing movie palace in downtown Los Angeles, so once again they're not choosing the obvious option there. It's really exciting because those buildings have a "past" and anything that has a past generally has a character and creates a certain atmosphere. I was really excited by the budgets they had to work with, but I'm also from a background closer to a DIY aesthetic. I love that ability to do what it is you want to do and not answer to anybody. And, so, I'm a musician, and I love to play music and Teatro was a full-time job of assisting and engineering. They were very good about letting me run stuff like tape machines and showed me some of their techniques which was really cool. But, I love playing music and I wanted to finish my band's record and I'm really glad I made that choice — it was a difficult one to make.
So you actually got to work with Lanois for a couple of weeks. What did you get from that experience?
At that point he was working on the All the Pretty Horses soundtrack, which actually came out and to everybody's amazement, it was a different fella doing the soundtrack. I think Lanois has some stuff in the movie still, but when I was there he was working closely with Billy Bob Thornton on major thematic ideas for the music. Basically, Billy Bob Thornton would come up for the day, discuss scenes with Lanois and then Lanois would proceed to compliment them with music. It seemed with a lot of the ideas Lanois already had music in mind — themes he had created way before the movie was even written. At one point I was enlisted to run a drum machine — I had this overwhelming pressure to hit stop on the drum machine at the right time. I definitely look back at that moment with humor. Darryl Johnson, a bass player who's played with wonderful musicians like Emmylou Harris and the Neville Brothers was in to play one day. It was really exciting to be in the room and run the drum machine with Darryl Johnson, Daniel Lanois and Mark Howard at the board. I was kind of like, "Okay, I've gotten everything that I wanted so now I can leave." It was weird. Sometimes you think things are untouchable but they're really not.
If someone is really interested in something and maintains it, that interest will take them to where they need to be.
Yeah, exactly. But then again you have to ask yourself what do you really want. And for me, once again, it was to play and record music that I'm personally involved with as far as writing and singing. There's only so much you can do in this world! [laughter]
From listening to the Early Day Miners' Placer Found, I can tell that you're not really into the dead acoustic type of sound. You like makeshift environments, correct?
I really like recording in homes as opposed to places that feel sterile. Most music wasn't intended to be performed in hospitals.
And to an extent — listened to in either!
Yeah! The main goal is to have a good time and to hit some emotional buttons. I find that a little harder to get those feelings working at a studio. Now, more than ever, the ability is there to record wherever you want. Wherever it is you want to do a record you should be able to. The most extreme example of that would be this band called Lullaby For The Working Class. They do a lot of really excellent home recordings. They recorded a song for a 7" in the Pacific Ocean. They were actually just standing in the water — you can hear the surf in the background.
You just finished your band's new record. You did this on Tascam DA-38s.
