Westword: Did the band do anything different during the writing and recording process of the new record? We definitely were more purposeful in that regard, and definitely a little bit less heavy in terms of the compositions. A lot less riffing in places that we felt wasn't really necessary or [didn't] fit the song.
I think that the reason the way it developed was we added a new member previous to this project. We had a guest musician, Meaghan Lillis, come in for our last record to play piano, but after that, we continued playing shows with her, and she ended up having a lot of input on this new record. Typically what ends up happening is one of the bandmembers will bring an idea to a session. It was a lot of jamming, and that took a toll on us because there were no decisions being made with the songs in terms of the timeline. We were constantly changing the songs or doing small changes here and there.
But this one was a little bit more purposeful in its composition. Israel and Meaghan both have music degrees, so they kind of ground the compositional elements for myself and Juan Carlos. They kind of allowed us to experiment with what we do, and they brought us back down to these compositional elements and kept being consistent and purposeful with it, which definitely helped us finish the record in the way we envisioned it.
And the way we write the songs is really just how it ends up making us feel, section by section. We write them in sections depending on what kind of journey we want to take the listener through and how we want to make them feel and how it makes us feel. After the debut record, did you naturally come to the conclusion that whatever you did next needed to be more focused and different?
I think we really all agreed that that was going to be the case. On the last record, that was a lot of what we learned, as far as the recording and writing process. We just really knocked out this record and recorded it pretty quickly. We were more purposeful in that regard and made sure that we did that on this record.
Fortunately, it's possible to dampen Clarkson 's spirit -- nobody could survive four Ryan Tedder collaborations without being brought down into his simpering murk -- but not to break it. Other editions. Eventbrite, and certain approved third parties, use functional, analytical and tracking cookies or similar technologies to understand your event preferences and provide you with a customized experience. You get the gruff but charming Ian and all these wonderful scenes that make you smile. Just a 'plain' contemporary boy meets girl romance.
As close as possible [laughs]. We definitely are very satisfied with what the end result is, and the folks over at Evergroove Studio , where we recorded this record, really helped facilitate all of that.
We really just wanted to make sure that we were satisfied with the record, to the extent that we can be. We also wanted to progress the sound we had been working on a few years ago. It's pretty interesting to compare All I Ever Wanted Was and Epoca de Bestias through the lens of how adding Meaghan and more structure to the songs changes the sound of the band. For a time, there Israel was, on his own. As a self-taught musician, was it challenging to try to have more restraint and structure in the songwriting process?
Oh, yes, definitely. But at the same time, it kind of gave us a lot of focus toward the end on how to play in that sandbox, so to speak — of structure and experimentation and finding a good balance for it.
From your perspective, could you hear and feel that difference between beginning this new songwriting process and when the record was finished? Oh, yeah.
I mostly produced this record as well, so a lot of the sounds that were in the record had been agreed upon initially, but also there was a little bit of fine-tuning at the end as well. While in the studio, it sounded so good, and I was surprised by how much progress we had made and how much sonically we understood things — or at least I did, in terms of how we wanted things to sound together as opposed to just concentrating on my guitar part or just concentrating on the guitar sounds — although I obviously did that as well [laughs].
I get to write and make music a lot. I talk to the parts of my family I want to, when I want to. All that said, those are pursuits are nice, and they are meaningful, but they are mostly significant in the way that they ladder up to the two things I yet want.
And that is all. Well, to me, it means to fully experience as much of our planet as humanly possible given the short time I have left breathing on it. More mountains. More meadows.
"All I Ever Wanted" is a song by Swedish eurodance musician Basshunter. It is similar to his previous single "Now You're Gone" in that it is an English remake. All I Ever Wanted is the fourth studio album by American singer Kelly Clarkson, released on March 6, by RCA Records. After the controversies that.
More skylines. More subways. More restaurants. More people. More cultures. More countries. More smiles. More markets. More coastlines. More concerts.
More waterfalls. More deserts.
More elephants. More yet-blazed trails. More open roads. These people and places speak to me. That and the health insurance. W hat do I mean by see less of the world suffer? It means to fully give as much of myself to as many people as possible. This means more favors. More quiet activism. More writing. More cooking. More picture-taking. More music.
More good turns. More random acts of kindness. More speaking engagements. More podcast episodes. More philanthropy.