![]() Strum: I hope the music, the uniqueness of Mark’s voice, the face that we wrote what we felt and talked openly in interviews. We made meet-and-greets an everyday occurrence. We made a real effort to meet people one-on-one. We rolled ourselves into a big snowball and hoped that the snowball wouldn’t melt. Strum: We went out and met people, we went to the streets. How do you account for your immediate, widespread success? Not many bands did as well as Slaughter did the first time out of the gate. ![]() You have to be serious about time deadlines, but you can’t let them govern your life. Strum: Part of what makes our records our records is that they’re done with good spirits and good feeling involved. Because we had more freedom this time, we’re not so worried about pleasing the record company, pleasing anyone else. ![]() When you’re putting together songs, I think it’s a lot easier to have an idea where you want to go. Now we’ve been out in the world, we’ve met the people we’re playing for firsthand, and we got to understand what they like, what they grew up on, and what they wanted to hear. Back then, we didn’t have a real solidified target to shoot at. It wasn’t that hard on the first record because we’d done demos in a real studio, but definitely this time we’re familiar with what we’re aiming for. #THE SONG BUDDY YA FULL#Slaughter: Yes, I think it gets a lot easier, but when you have a band full of perfectionists it makes it harder because we’re always very meticulous in trying to find the best possible way of playing it.Įlias: Yeah, definitely, because we’re more at home in the studio. Is it easier in the studio the second time around? I’d take the notes back and work on the drum parts by myself, and when we went into the studio, I was prepared for it. I made notes and when I found that something wasn’t working or could be improved upon, I definitely put in my two cents. I was there when Mark and Dana wrote the songs in Mark’s living room. Then it took about a week to do all the tracking – a couple of days choosing instruments, getting sounds and laying it down, which was the easy part. We’re bringing some of what we learned on the road back into the studio.Įlias: Drumming-wise, we worked in pre-production, getting the parts together, arranging songs for about a month. I made some additions to the drum set – more toms, different types of cymbals for different sounds, special effects. Dana says, “All right Blas, this time we’re going to go for it, go ahead and be wild, be sloppy, let’s just get the attitude, get the feeling.” We went in a lot more for that this time and I was able to bring back a lot of my real influences, like Neil Peart from Rush. A lot of times we had to lay back, hold back, not experiment or go off on weird tangents. I want someone to tell their friend, “You gotta fuckin’ hear the new album, you’re gonna die when you hear this,” rather than “This is a good song, it’ll be on the radio.”īlas Elias: It’s definitely a growth from the first record, where we basically had to prove ourselves musically. ![]() We always want people to go, “Oh God, have you heard this?” crank it up and have a good time. ![]() Strum: We could have done a record that was sappy and glossy just to guarantee us airplay but we wouldn’t want that. ![]()
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