Same thing with tempos, having some songs that were a little slower and not just balls to the wall the entire time.” The band has described every song on this album as having its own “sonic world”. There was a lot of talk about having greater dynamic range on this album, like quieter parts vs louder parts. Prowse explained, “We wanted to make a more sonically diverse record, to explore different sounds. The band allowed themselves more time in the studio than usual in order to experiment with overdubs, as well as guitar effects, loops, and synthesizers.
When it came time to make this record, we didn’t feel like we could push the songs or the band any further in that direction we felt like we'd already done it and there was nowhere left to go. After we finished Celebration Rock, we felt like we’d achieved that. That’s the kind of band we wanted to be, and those were the kind of records we wanted to make. When we started the band ten years ago, we were really into a lot of raw and live sounding records by garage rock bands records that sounded like shows. The album features a more polished aesthetic in comparison to its predecessors Post-Nothing (2009) and Celebration Rock (2012). The band attributed wanting to work with Peter Katis as one of the primary reasons for the album's delayed release: "We really wanted Peter Katis, who’s well known for working with bands like The National and Interpol, to mix our record, but we had to wait around a little while in order to work with him." Recording The album was recorded in the fall of 2015 with longtime engineer Jesse Gander, but wasn’t mixed until the following spring. We hadn't written anything in a long time, so it took a minute just to get the ball rolling again." The duo, now living in separate cities, would spend the next year writing together via similar sessions. In late 2014, the band reconvened in New Orleans to begin writing new material: "We rented a house and spent about five weeks there, with all the gear in the living room, just playing every day. So we took about six months off – the first half of 2014 – and decided to dedicate that time to ourselves and our personal lives. When we got home, we were just totally destroyed, really burnt out both physically and mentally at that point, we hadn't taken a serious break from the band in five years. In an interview with The Independent, King cited exhaustion as the primary motivation: Following the end of the Celebration Rock Tour, the duo decided to take an extended break from the band. Japandroids toured for nearly two years in support of their second album, Celebration Rock (2012). The album produced three singles: “Near to the Wild Heart of Life”, “No Known Drink or Drug”, and “North East South West”.
It was recorded by longtime engineer Jesse Gander and mixed by Peter Katis.
With band members living in separate cities for the first time, the album was written over the course of a year during sessions in Vancouver, Toronto, New Orleans, and Mexico City. Described by the band as their first attempt at making a "proper studio album", it features a more polished aesthetic than their previous releases. Near to the Wild Heart of Life is the third studio album by the Canadian rock duo Japandroids, released on January 27, 2017, by ANTI.
0 kommentar(er)
