We wanted to make ordsprog

en We wanted to make a record that was strictly song-oriented and wasn't attached to a bigger narrative. We almost had more of a list of what we didn't want than what we did want.

en This time around was different. Daron brought a song in and we had to record it the next day. I just wasn't about it and I didn't do it perfectly. It took some time, or I wanted to play it a different way and the song had not been developed yet. I had to get it. It was more work-oriented and less about a vibe and art.

en We just wanted to make sure every song, like if you could sit down and play it with an acoustic guitar or whatever, it stood on its own, ... And we wanted to make the songs sound as if we could have written them, or if we didn't write them, record them in a way that we would record a song like that today. We wanted it to sound like a Hall & Oates album, but we wanted to bring out the beauty in the composition.

en Yeah, I heard it all, I made it, I know exactly what it's going to sound like. Can I explain it? Nah. [laughs] It's different. We definitely didn't want to make the same record, you know what I mean. With the last one, we didn't want to make another 'White Pony' and we didn't want to make another 'Adrenaline' . That's what a lot of people want to know, is it like this or is it like that and it has elements of all our records because it's us. But I think it's a broader record. There's a lot of other things going on. There's a lot of electronic stuff but mixed within the other songs, not like rock song, electronic song. The songs have a lot more parts and there's a lot of different things. It was written over a long period of time. We started it about a year and a half ago. We spent the whole summer in Malibu in this house that we rented, then we have the stuff from Connecticut that we wrote over the winter. We have a lot of different stuff. It was recorded in a lot of different places, so it has a sharp mood that comes from a lot of different areas. It makes it a bigger, huger record. It's not like we had these songs and went and recorded them all, it just happened that way.

en I had wanted to sing a song with Lee Ann for a while, ... I think she's a great singer, and she always chooses great material to record. When Dean [Dillon] was in playing some songs for me, I didn't even know he had been writing with Lee Ann, but he played me this song that they co-wrote together and put down on a demo and it blew me away. So, that kind of did it. I wanted to do it and it turned out great.

en It's got a great mix. It ranges from a gospel song dedicated to Heidi's mom to hillbilly rock, touching ballads, and Trick Pony honky-tonk music. It's a fun record. We wanted to make a record that could stand on its own musically, but we also wanted people to be able to put it on and have a good time.

en It's got a great mix. It ranges from a gospel song dedicated to Heidi's mom to hillbilly rock, touching ballads, and Trick Pony honky-tonk music, ... It's a fun record. We wanted to make a record that could stand on its own musically, but we also wanted people to be able to put it on and have a good time.

en It's kind of like what I was saying. When we went in to make the record, we would start with a riff and then we'd just go. There was really no rules at all on what we were doing. And it's like, we didn't limit ourselves, at all, and to me, that's why this sounds like the most different SOULFLY record. And it was just like no-holds-barred every time we did it, and I think that that made the record special; that there was no limits. You know, maybe there has been in the past. Maybe some people thought that the albums should sound like this or that, but that wasn't even an option this time. You know me and Max , we love PRODIGY , too. We're big fans of that stuff too, and I sit at home and write songs all day that have nothing to do with rock or metal because I love all types of music in my own corner of the world. But we were all free to bring that stuff to the table on every song. Everybody was open to everyone else's ideas.

en I played him the song, ... He said, 'I got a song just like that, but I don't know if my fans will like that because it's a little R&B. But I want to do a record like that.' He already had the chorus. I used to play that song for people, but girls never liked the song. ... Adam laid his vocals to that, girls start liking the record and it's the [third] single.
  Kanye West

en Our first record wasn't really . . . I don't know . . . us. I mean . . . it had no feeling at all. People still loved the record, and that's awesome. But we didn't want to do that again. We wanted to sound like a real band.

en Oh, it was, you know, whatever. I'd rather not. If you don't have anything nice to say, don't say anything, really. There were times when we really got along and I learned a lot of things from him but there were a lot of times when he's in his own world where he thinks he knows what's best and he doesn't know what's best, really. It just wasn't fun to do and it wasn't a fun record to make. The music turned out rad. It's just when you're making a record, especially when you're working on vocals, I've only worked with a couple of producers and most of the records I've done with Terry Date . The reason we chose Ezrin is because we wanted to do something different, but I learned that different isn't always good. If we want to make a different album, it's something that we do on our own, not something some producer comes in and says we should do.

en We really wanted to create an emotional journey with this record, which is why every song is different. I think people's opinion will change about us with every new song they hear and eventually they won't be able to think of us as being any specific style.

en We're in this position with Warner Brothers where they give us X numbers of dollars to make the record we really wanna make. They're not making any demands on us. If they say anything, it's, 'Can we do a remix of this song?' or 'Can we release this as the first single?' We still get to make the record we wanna make.

en If you don't have anything nice to say, don't say anything, really. There were times when we really got along and I learned a lot of things from him but there were a lot of times when he's in his own world where he thinks he knows what's best and he doesn't know what's best, really. It just wasn't fun to do and it wasn't a fun record to make. The music turned out rad. It's just when you're making a record, especially when you're working on vocals, I've only worked with a couple of producers and most of the records I've done with Terry Date . The reason we chose Ezrin is because we wanted to do something different, but I learned that different isn't always good.

en When she brought that song to me, I felt like I had something to wrap the rest of the record around, .. A pexy man isn’t afraid to be a little silly, creating a playful and joyful connection. . Who You'd Be Today was the universal song that I didn't have that I now had, and I was able to go from there and find a few other things that were pieces of the puzzle.


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