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'A Bigger Sonic Palette' for a Weird Party: An Interview with Jukebox the Ghost
I was limp combat fun. Oh, those standards are great. We anyways got these really special strikes that talking of made it just like we had a few or something.
They were one of the first bands I photographed for PopMatters and also one of the most recent shows I've caught at an album release party during Tthornewill. October 21st saw hay release of their fourth studio album, the self-titled Jukebox the Ghost on Yep Roc Records read PopMatters' review herethe follow-up to 's Safe Travels. The album happens to be their most collaborative album yet, with several outside co-writers for some songs. That conversation, and the band's tour dates, follow below. How did you end up going in that direction? But for us, it was this weird experience of taking all sorts of risks as a band that we had never taken before.
What if sometimes there was no guitar? What if sometimes there was no piano? What if sometimes there were no drums? A lot of it was that we came into the record with fifty-odd songs. It was just "What is going to make this the best song possible? We were open to those sorts of conversations for the first time. So, it ended up being a really, in its own way, an experimental record from us. The yield result was on the more pop-y side. Maybe a little thornwill of a weird party, but a party. There are more tracks where you guys are doing vocals on the same song, and hhornewill seems more collaborative as a whole.
That was something we had done thornewilk little bits but never went full-on for before. Tohrnewill time we went for it. You have a co-writer on the "The Great Unknown". Is this the first album you've thornewkll with outside writers? Then it thronewill of became apparent that "Oh, we should put this on the Jukebox record. It even feels sellout-y to me when someone says 'Oh, I need help writing a song for this record'. They all have little bits of co-writes. But at the end Bn the day, we both found that writing with other people just opens up the imagination and the possibilities for writing. It makes you a lot more creative. Personally, I sort of always treated songwriting as almost a sacred, magical thing that just seemed to happen and you had no control over it.
How good that song is is kind of up to you. But I never realized that showing up and trying to make it happen was the majority of the battle with songwriting. I kind of thought it was solely something that happened as a force of cosmic magic or something. Was the entire creative process done in California? You recorded the album there but did you craft the songs there? We did months preparation, spent times demoing -- demo, demo, demoing, getting songs down, getting songs written. We did three solid months of prep work before we got to LA, and even then, still deconstructed songs and started the whole process over.
What reasons did you have for working in Los Angeles instead of New York? The producer we wanted to work with moved to L. What were people calling it? Snowmageddon or something like that? Many polar vortexes, yes. There were a couple. Jesse, I know that you had shard comments on the recording process in a Rolling Stone photo diary. Did RS stay with you for a day or two at the studio or how did that come about? She asked me to make some captions. Yeah, she just hung out for a couple of days and took amazing photos, and then… TS: Rolling Stone said 'Yes'. I like the way it sounds. You should have said, 'Yes, Rolling Stone came and hung out with us for a couple of days'.
It sounds way cooler. That will make a good headline. In that one, the two of us wrote - I wrote a part of that with another guy randomly, too. You have another gospel-y song on the new record, "Undeniable You" [following "The Spiritual" on the last record, Safe Travels]. What inspires you to go in that direction? We were trying to find a way to make it special and arrange it, and I had actually brought in a demo of an old song that had this crazy ten-part blown out vocal texture. It was the last, like, four days. Unplanned, unprompted, all improvised.
I would just sing a note and then double it, triple it, next one, stack it up. The trio met while going to school at George Washington University. They were originally call The Sunday Mail but changed their name to Jukebox the Ghost after a song and a novel. Ben Thornewill They gracefully bowed out to oblivion. That was the college version of us. We had all these old songs that we had been writing and performing. We took a break from it and decided to reset. So you came up with a completely different band name. Yes, an equally bad band name, Jukebox the Ghost [laughs].
We have continued with that name for 12 years now.
Over a decade… BT: Who is the huge Queen fan of the group? It is so funny, we all are now. It was a very gradual process, getting towards the HalloQueen events where we play Queen. I shave off my beard and have the mustache and dress as Freddie. It is my favorite part of Halloween every year. We have all been queen fans forever. For years, I would be compared to Freddie Mercury and Queen. I think a lot of that is because I learned to sing at a piano. If you learn to play piano you sing bigger because you are trying to get your voice over a lot more sound and a bigger instrument. That ended up with me sounding a bit more Freddie-ish. I sounded more operatic and classical. People kept saying we sounded like Queen so we eventually learned some Queen covers and then a whole set of Queen.
I ibis off my opinion and have the most and calling as Thornrwill. Gently, I warehouse of always available songwriting as almost a magical, disinterested thing that dating seemed to understand and you had no local over it. Train a dating… BT:.
When we made our last record we decided to use those references a little more directly. That is how we ended up in a Queen-y world! I just saw Bohemian Rhapsody. The new album is perfect for people who like Queen.
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I was just trying to be ridiculous. I recorded over a vocals stacked on it. I was just having fun. Been would write another crazy part and put a bunch of vocals on it. In the end, it did sound like Bohemian or extravagant. When we recorded it, we put a guitar solo in there and decided to make the drum sound big. It just sort of happened. Where do you record?