Was it an aesthetic choice to bring in loads of reverb, distortion and feedback to the recording process?
That gauze of effect never seems to get in the way, or hide the core of the songs. Do you find yourselves editing through the mixes to achieve that balance or are most of the records a fairly accurate document of what’s going on in the room? MH: It depends on the project. The “Strawberry Guillotine” 7-inch we did for Woodsist, we did in a day and a half. It was one of those things where you just go with your gut and we were already set on the way it should sound. A lot of times the way it works is that Mike will bring a song in an acoustic form, or sometimes maybe a rough demo. That will trigger some sort of idea in me. To me “Strawberry Guillotine” just sounded like it needed a wall of hissy feedback the whole time. So everything more or less gets pieced together by the end? MH: The recording process kind of lends itself to that. We only have one microphone and a really small, crappily built subdivision of my garage to record in. So it’s often like lay the guitar down, maybe an electr
