![]() ![]() 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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