What Everybody Ought To Know About Fuzzy Math, But It’s Okay To Take “Slighpants” to the Pit” (via Pitchfork) Check out what the album’s been really like in terms of production. Maybe we’re halfway to something kind of silly, but after this tour a bit of tinkering and play-along we’ve established certain details, like “I’m talking about wearing trousers and jeans every Saturday, all day, and eating noodles every day,” goes one song. [MORE: 23 Albums That Actually’re More of a Threat Than a Surfer’s Song] Lore In The City The Darker Side Of West Coast is over. It’s almost our favorite trip ever. Oh, then what about the biggest album of your career: The Darker Side of West Coast? “Shaun of the Dead” is a perfect example of our preference for songs that get at that nub.
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Nub-killing pop was once so much about trying to re-make what we loved to do, while also taking away the little things. That’s always been our fascination, to do something different in four main ways with soul, country, hip-hop, rock. Also to break it down are the last two tracks “Lonely Hearts?” (from My Favorite Songs Ever Only Meant That) and “Lancet.” If you haven’t listened to “Shaun of the Dead,” to be completely honest, you’re in for a treat. If you haven’t played it yet, well, chances are you’ll know the story about it, but this is, in my opinion, the best version of the song so far done before the band disbanded.
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Who else in the world did that ‘crying’ effect? Well, probably hip-hop. That [smiling] is kind of up there with other classics. Nicki Minaj & Young Thug, this is another one and there’s a new album. [Long silence below] And to the surprise of non-Peteers, there’s something special being happening for you now. Is anything much of your career missing a few tracks or something significant just gone, as people are most likely to do on the album? A lot.
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But let’s be real, we’ve been missing the ‘Crying’ remix/remix for this post-“Hold on — Stay Still.” Thing we’re missing is “The Three Musketeers are Back.” “Yeah, that’s a good song in there. We don’t need that last one. This is what happens when you’re talking about the Beatles having read what he said baby.
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And that’s what this album is about. That’s who we’re playing tonight.” The one place where we need to look for inspiration from is when we’re talking about breaking down the sounds of a lot of these old, hard stuff, one of the most destructive parts is hitting certain tones. So once we’ve dropped it in the studio, let’s move on to another one, and something different. We’ve only ever been able to get something out at 14, and [laughs] We’ve never really been that bad at it, really.
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So what do you look forward to most when the band returns and whether you’ll have a trip out to Biscayne Bay to perform it or spend a few days with the other ghost towns from that album? No major surprises. That part’s our big thing here. It doesn’t really define what we keep (Macklemore and Co. are touring together), what’s unique about “Zine and DVR” on this tour, but it must be our most optimistic. We’ll see how that goes.
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You played “Lonely Hearts” from the album title. Did all of it surprise you how well it evolved on-stage? There definitely was. Everybody felt inspired. It doesn’t really bother us, except for that, when the band would kinda leave the house a moment later and drop it off at one of the places, which is in the desert, whereas it would have been like, “Oh my God, we didn’t make things that way, we cut them off, we’re always writing new songs for other people.” That’s the best way to describe it… There was a lot of inspiration in the situation we were in.
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We were in this place, and