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GlassjawJulian Gilbert

Glassjaw Members Provide Track By Track Rundown Of “Material Control”


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Glassjaw‘s primary core duo of singer Daryl Palumbo and guitarist Justin Beck have provided a track by track rundown of their newly released album “Material Control” to NPR. Throughout the chat the band speak of former bassist Ariel Telford guesting on “Bastille Day“, George Reynolds of Mind Over Matter/Dayinthelife fame appearing on “Pompeii” and more. An excerpt of their thoughts on the album’s second track “Shira” can be found below:

Beck: When composing songs, the guitar has always been more of a color. The bass and the drums have always been the meat and potatoes. But originally the bass had to kind of share the headspace with all the other parties involved, so in this situation…

Palumbo: It really shines. You really hear it.

Beck: We’ve always had beef when you hear bands and the bass is more of a frequency filler than an instrument. We’ve always been like, “shit, everybody is neglecting the best part.” It commands so much control. It really adds texture and it adds a level of anxiety.

Beck: When we were doing Worship And Tribute [the band’s second album, released in 2002], the label was like, “Yo, we need Chris Lord-Alge [engineer who’s worked on records by Prince, My Chemical Romance and Tina Turner] to mix this shit. This is your fucking hit.” We’re like, “All right, crazy guys, we’re cool with Alge mixing it. Whatever you guys want, spend the money.”

We walk in a room and I’m like, “Yo, gotta bring that bass up, man, bring the bass up.” He kind of just moves his hand just to shut me the fuck up. I’m like, “Yo, you gotta bring that bass up because that whole riff is the bass.” He goes, “Listen here, kid, let me guess: you’re the fucking bassist,” and I go, “Actually, dickhead, I’m the fucking guitarist.” [Laughs.]

Palumbo: The last thing [major labels] want to hear is the very Cro-Magnon sort of shit, with the bass just super-ultra distorted. It’s almost as loud as the vocals. Those were the things that kind of got me and Justin turned onto this avant-garde, New York hardcore thing.

[Material Control] is a win because the record finally sounds like the band we heard in our heads, which is not that far from some bands that we enjoyed when we were younger.”

Read on over at NPR.

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