And if he's at level 10 in terms of technique, I'm at level 4. The way I write songs is very special, not very complicated but not intuitive for everybody. He's very good, partly at playing guitar but also at learning songs. And then I thought that if I'm going to be tight on time, he might as well lay all the guitar work. But I thought, damn, maybe Kulle can come in and play it nice from start to finish? It will be so much better. In a recording situation, I can sit and play the guitar solo, then cut and paste, and fiddle and have fun. During the demo stage, I played everything, I worked on the drums and then I play the bass too. With Spillways, I kept thinking - what if I add one more riff before you get to the chorus? But on the other hand, it's easy to get almost too reckless, and if you're unlucky, you end up changing every plank on the boat so much that it's not the same boat anymore. Let's just say that Square Hammer is one of the most spontaneous songs I've written, a song like that would have been easy to just copy and write multiple times. After however many years, you can still get a little confused and wonder what song you're listening to. I didn't try to make a record that sounds like Def Leppard but I had an idea.if you listen to Hysteria, every song has five parts before you get to the chorus. Everyone worked on it on the premise that it would be an important song on the album and that got us a bit overprotective, everyone felt that we couldn't blow it off. But if a song gets singled out early on, it can be a bit difficult to arrange, and so it was in this case. Spillways was a song you were happy to hear every time it appeared in the work rotation. Then it's easy to just show up at work and manufacture content, to repeat your sound, and there I find it very easy to sense when what I'm doing becomes too generic. Children, family, maybe other projects or a restaurant you do on the side. The older you get as an artist, the more things you have that mean something to you in life. I mean everything from Slayer to Pink Floyd. In hard rock, there's a part of the audience that maybe values the sound of hard rock more than they value the hits - if you simplify everything and say a good sound is a hit. That's not to say it's not a matter of the heart for them but it's very easy to think that if I only produce 40 minutes of content then I've delivered. That's not to say that everyone else is doing the opposite, but I think there are a lot of bands and artists who, especially when things are going well, run on a recipe that always works. It's mostly about constantly trying to do something that doesn't remind you of what you've already done. I have an internal compass that keeps spinning and I don't know exactly where it's going.
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