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Coming off a year of intense touring, they wanted to just sit down and write some songs. And then record them. So they found a church out in a small town and turned it into a studio. They moved in all their amps and instruments, bought some nice curtains, stocked the fridge, and hunkered down. They were in no rush. They knew they were working on an album, but didn’t know how long it would be, or what it would be called, or what songs would be on it, or what instruments would be on the songs. They knew they would produce it themselves, though—they had too many musical plans pent up in their brains to hand control over to someone else. So they found some grand engineers to make those musical plans reality—Markus Dravs (Bjork, James, Brian Eno) and Scott Colburn (Sun City Girls, Animal Collective). Slowly the songs came together. They found a huge pipe organ in a huge church in Montreal and recorded it. They bought some bass steel drums and some bass synths. They got a hurdy-gurdy. They called in friends for help: Martin Wenk and Jacob Valenzuela, the horn players from Calexico, came in for a song. Hadjii Bakara from Wolf Parade added some bleep and bloops and sonic weirdness. Owen Pallett, Final Fantasy, helped to orchestrate (as he did on Funeral). Pietro Amato and his horn playing associates added some brass. The band traveled to Budapest to record an orchestra and a military choir. And besides all this, the band just played music together. |
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