![]() I was like, “I don’t know if I can do that bro.” Bob was like, “No, you’re going to do it.” A goes down, but it still makes everything super high. That was the highest I’ve ever had to scream-the highest notes I’ve ever done, because it’s in A. ![]() To touch base on that real quick, “You put the pages back in your bruised book, you put the pages back with rusty hooks,” it was so high. “No Reentry” is one of my favorite songs from you, not just on this record, but throughout your catalog. It’s the kind of record you can leave on repeat. You can still get that energy maybe, I don’t know. Even if it’s angry and sad, we still had a blast singing it. I think that’s why people are digging it. Nothing was fought over, and it was like, “Well, that’s bad-ass, that’s great.” The next thing you know, here we are. It was joyous, and the lyrics just came out of me. It was funny, and it was just so much goofing off. He said, “You’re the holder of the originality card and I hold the bar of quality, and when I say it’s done, it’s done.” I am like, “Okay.” Then when it’s done, he was like, “That was bad ass, let’s record the basic tracks.” It was just this incredible collaboration all the time. I write all the lyrics that’s for damn sure, but there’s always this big collaboration between Bob and I. Then of course “Drug Boy,” was a riff that I had literally 10 years ago, and just never used it. They want some good old-fashion ass beating.” He said, “We’re going to do that.” I said we got to do something that sounds like it could have been on Short Bus and that was the “Inevitable Relapse.” Then we did “Absentee Father,” something that I wrote almost completely by myself like the Short Bus days. He said, “We have to give them what they want, we have to retain your sound, but we have to hinge it completely 2010.” I said, to Bob, “What I’ve learned is that the heavy fans are pissed. He came in and shook the house a little bit. I needed to kind of go back and give them everything they wanted, plus making sure that every song had a payoff. I am very happy to have finally kind of figured it out. ![]() The man has shown the naysayers, who did not believe he had another riveting record in him, to be totally wrong. There’s a lot of cool stuff going on there.” That was the bonus track, the ‘One Shot From the Sun’. When we were on the bonus track, they co-wrote it with Bob and I. And they did put a bit of their stamp on the record, “Only on one song, because I just hired Phil and Rob in these last two months. “This band with Phil Buckman and Rob Patterson is a little more of what we needed,” he said. Richard also talked about the new members in this incarnation of Filter. He explained the stimulating element of his fifth studio offering, The Trouble With Angels a record that salutes the industrial tinge of Short Bus while intermingling with an exciting sense of experimentation, luxurious melodies and an infectious fervor of execution. Richard Patrick called The Aquarian Weekly with the wherewithal of an astute road scholar while traversing from a sold out Bowery Ballroom show on Aug. What is “it”? That is, make a record that not only utterly satisfies, but stokes the embers of the original love affair that fans had with the band in the first place.
0 Comments
Leave a Reply. |