Dan - figure this is you, haha - I'm a huge fan of Texas, but I confess that I haven't liked what you've done with Analog Rebellion. And, of course, it doesn't matter what I think - except that I loved Nothing Is Wrong, and I wanted to let you know that.
(And, just listened to Learned My Lesson - don't like it as much as Nothing Is Wrong - but I'm sure I could get into it.)
Anyway, all I was saying is, if you choose to make more stuff like Nothing Is Wrong, I'll probably love it. I didn't like Bigot Like You at all, but if you're not the biggest fan of it either, then hey! We sort of agree. Just keep making the music you want and I'll keep listening as I feel led.
Yeah man, I'm not sure what to tell you on that front. Texas was a long time ago, and it was just a completely different kind of record. It was recorded with a huge budget, over a long period of time, at world class studios, with world class producers and engineers. It's the type of thing you only get to do if you're (A) famous as shit or (B) lucky. I was the latter.
The weird thing about that record, and one of the things that I really hate about it, is that the song choices were made almost entirely by the label. Corner Office Bedroom, More of the Worst, and Forgiveness the Enviable Trait were the songs I picked explicitly (all of which were written much closer to the recording of the record, unlike Madi Don't Leave and some of the others that were written years earlier). The rest were compromises between me and the label. Texas always felt disjointed to me, for that reason. There are songs on Texas that I refused to play live before the record had even been released. That's how quickly I grew tired of some of them since they were old to begin with.
Is it the super-clean production you like, or the songs themselves? The vocal production was certainly lightyears beyond what my vocal production is now, but that's not an accident. I simply don't like polished vocals in any
type of music these days, including my own. My vocals lately are recorded almost entirely in a single take without editing, while vocals during the Texas days could have been recorded over a week (for a single song), with an entire day dedicated to editing them to make them sound better. It was unnatural, in my opinion.
With that said, the engineer who was responsible for the vocals on Texas is still a good friend of mine and we still work together from time to time. He helped produce, engineer, and mix Ancient Electrons and will likely be involved in the album(s) I record for 2013.
If you like Nothing is Wrong, I wouldn't give up on my stuff. Even if my entire new record isn't like that, the Grandaddy vibe is always one that I'm prone to return to. There are some b-sides that have a very similar upbeat vibe, including one called Echolocation that you might want to keep an eye out for.
I've never understood Tate's hatred of you; at best, it's always struck me as immature. But, he's allowed to say what he wants, and you're allowed to keep making the music you want to make.
Yeah, I'm not sure what he thinks he gains by coming into these threads to sling mud 3 years after the fact
, but I agree. Seems like a waste of energy. I figured he would have moved on by now.
Yes, Father Abraham will be on it. The track listing will be released this week! 12 songs, 1 of which is an instrumental.