Karate: Back at it. Still at it.
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g to come in and do their thing that they've done in the past. I know that it's certain tempos or feels that they do that I think is really unique. It's not like any other band I've been in in the past. It's never really happened that way. It's not like I write these songs and they are transparent and I go play them with anybody. I don't think it's that way.
So considering the way you talk about this record as a sort of exhale or something that came easy at the time, I get the impression that you definitely consider each record to be a document of the process, more specifically, the overall process of being a band--not just making another record and a segmented part of the process.
Farina: Yeah. I think the thing with Pockets is that we've never made a record where we've finished ideas. A lot of our records are kind of just like you're saying--it really documents sort of a process of what we're going through musically and we've never really made a record where we've said, you know, here's all these ideas that we've come up with, let's really finish them, let's really make them a little more ours. And that's what I feel like we did with this record. most of our records do really kind of go out on a limb like Unsolved and stuff around that time, with varying degrees of success and I think we've done a lot of that in our career and what we've never done is really said, "this is who we are," and lets sort of go with that and let's represent these sounds and these ideas that we've come up with--and that's what I think Pockets is. That's why I think the analogy of exhaling is a really good way to put it--sort of finishing something that we've already started.
Just as far as the records are concerned--you do a lot of them with the same engineer and the very first records, you didn't. Over time, is that relationship or that friendship something which subtracts the most pain from the recording process or something which boosts the productive qualities?
McCarthy: It definitely takes away from the pain of recording. We have at this point a friendship with him and he knows what we sound like naturally and he knows how to get that sound and just how to make a natural sounding record. He doesn't use a lot of crazy effects as you can tell. It's just a really relaxed, easy recording environment.
Goddard: It's funny. Somebody said this at one of the shows last week. They were bringing a friend who had never seen us play live to a show but they had heard the records and the person was like, "well, what's it going to be like?" And the guy was like, "if you've heard the record, that's exactly what you're going to get live," to a certain extent of course. And, at least my recollection of it anyways is that when we first started recording with Andy, I think one of the big important things for us was certainly by the time Unsolved came around, his second record with us, was we were really into just recording the best sound your instrument could create--the most natural sound of the instrument itself. So whatever Geoff was playing through Geoff's amp, as natural as that could possibly sound, and the same thing all the way around--and I think we've had great results with that. I think that he's a sound genius in a lot of ways and I don't think there is a lot of work to be done with us.
How would you say your career has affected or established relationships with the people closest to you? I would imagine there are a lot of ups and downs to it.
Farina: Yeah. They love it [sarcastic]. Cert
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