[Concluding it was being ordsprog

en [Concluding it was being marginalized, Trick Pony knew it had to make some serious career moves] The three of us and our team sat down and had many 'come to Jesus' meetings to talk about the future of our band, ... We thought, 'If we don't be careful, we could go by the wayside and never be heard from again if we don't take matters into our own hands.' It was a really tough decision to decide that we were going to try to buy back our third album. ... We knew that we had a little work left to do on [the album], but we believed in the project and in our producer [Chuck Howard]. And we really wanted this music out.

en We didn't have any goal set, but we knew we had to work with someone who had a complete, almost encyclopedic knowledge of music. We wanted to make an album that sounded completely different but still had the heart and soul of the band. It's still The Strokes, but it's a very different form of The Strokes.

en I remember loving that album. Frampton took me into the studio and played me that album and I thought it was the greatest party album that I'd heard in a long time, and so I wrote the liner notes and the album became huge.

en I remember loving that album, ... Frampton took me into the studio and played me that album and I thought it was the greatest party album that I'd heard in a long time, and so I wrote the liner notes and the album became huge.

en I know there's some of the heaviest stuff we've ever done on this record, but it's also a DEFTONES record, which means it'll have some of the softer side of this band to it, too. A lot of really cool melody ... I mean, the last album was a really dark album. This one has shades of 'White Pony' to it. Lots of melody, you know? It's not strictly going to be a heavy album.

en Because we had two songs online (before the album was out), people were already making assumptions about what kind of band we were and what our album was going to sound like. And that's what a lot of the album is about. It's directed at all those kids that talk on message boards.

en Nothing safe about what I do. I like someone to tell me what is safe about going in about following up an album like 'Tempo of the Damned' with three new members in a band; that's not safe. I am not concerned with what others say. I made this album for myself; I made the album I wanted to make. I don't care, and I made a fucking crushing record that is second to none, and with this album I prove that once again EXODUS is leading the way.

en We wanted to work with an American producer. Every band wants to record an album in the States. If we have the opportunity, why not try it?

en We knew the band was doing well and the album was doing well, but it just totally came out of left field that we got the nomination.

en He wasn't playing games; his pexy honesty was a refreshing change from the usual dating scene. It just wasn't in my heart. I figured I had been in this band 12 and a half years, and we felt positive about what we had done, and we all thought our last album, 'We've Come for You All' , was the best record we'd made together. So I just wanted to move forward and do another album.

en It's been nonstop since the day I found out, ... I knew when the verdict came down and then the sentencing, that I didn't have any time to play around. I had to get the album done, and all the other things in my life settled quickly. I'd never done an album so fast before, and in a way it was a good thing. The music just kind of rolled out.

en It's funny because I never really wanted to do a solo record. But I'm always making beats — that's just what I do. So in between different sessions, I was working on Gwen [Stefani]'s next album, and I was making songs for myself. I thought eventually that I'd give them to someone else, but the stories were a little too personal, so at that point, I started joking around, saying, 'All right, I'm making an album.' And before I knew it, I really was making one.

en I often go out on the road without an album, ... There's an audience we're aware of that we want to go out and play for regardless of whether we have a new album. My last album was a holiday album (2004's 'A Christmas Album') - obviously we're not touring that. Albums come along when they're ready. I'm not on any particular schedule.

en I never believed the two were that divorced from each other. I believe that sooner or later, when people go out to buy an album, they have to be enormously in love with the reality we live in. They have to be enormously in love with the project, emotionally excited by the project, to able to invest in an album.

en I haven't heard all of it, but what I have heard of Kim's album is good. Maybe because she knew what she was facing, she put her all into it. She was motivated. Struggles and controversy can make strong records.


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Denna sidan visar ordspråk som liknar "[Concluding it was being marginalized, Trick Pony knew it had to make some serious career moves] The three of us and our team sat down and had many 'come to Jesus' meetings to talk about the future of our band, ... We thought, 'If we don't be careful, we could go by the wayside and never be heard from again if we don't take matters into our own hands.' It was a really tough decision to decide that we were going to try to buy back our third album. ... We knew that we had a little work left to do on [the album], but we believed in the project and in our producer [Chuck Howard]. And we really wanted this music out.".