Adam Sav­age While She Sleeps

The re­wards of never play­ing it safe

Rhythm - - BEAT! -

Did you record So What? in While She Sleeps’ stu­dio?

“That’s in Sh­effield. We’ve had it about three years now. It was an in­dus­trial fac­tory so we took it over, cleaned it all out, and built a stu­dio in there. There’s a prac­tice room, kitchen, bath­room, five bed­rooms, stor­age room. It’s re­ally cool, we’re quite blessed to have a place to chill and cre­ate all this stuff. We’ve done a lot of the al­bum record­ing there now be­cause Carl [Brown, pro­ducer] has his own stu­dio but he moved over to the ware­house this time to make it eas­ier on us. And we can record for a longer pe­riod of time. We’re not to­tally un­der the clock.”

That’s quite a lux­ury!

“Defo! I don’t see any point in rush­ing an al­bum if it’s not done right. I do try to have a men­tal­ity to get through it and work quick, but at the end of the day it takes as long as it takes. I had to take a day or two out be­cause I got repet­i­tive strain in­jury on my el­bow and it bled down to my fin­gers with a bit of nerve dam­age, so I was strapped up, I had ice, painkillers. I got to a point where I was like, ‘Look, if I don’t have a day off to try to fix it, it’s go­ing to get worse,’ and you don’t want per­ma­nent dam­age. Five hour shifts in the stu­dio just ab­so­lutely smash­ing drums, it gets on you.”

How do you repli­cate the in­ten­sity of play­ing live when record­ing?

“It’s the pres­sure and the pas­sion for it, it fu­els you to get it done. I have to hit quite hard to get the punchy sound you hear on the record, so it’s not faked. You’ve got to give it some welly but use tech­nique to not break your arm or break the drum. Equally, I’m try­ing to hit the snare hard with my left but then not crack­ing through a cym­bal with my right, so I’m try­ing to bal­ance a few dif­fer­ent ve­loc­ity hits. You’ve got to think about it, but it’s worth it when you get that sound right.”

Did any tracks of­fer a par­tic­u­lar chal­lenge?

“I don’t think feel­ing comfy in the stu­dio is a good thing. I like to have that pres­sure, it drives me. I’m not go­ing to sit on my arse and play this chilled beat, I want to push it so I’m slightly ner­vous. Through­out the tour­ing cy­cle, you end up learn­ing that part that you were scared about a year ago. I’ve wit­nessed that hap­pen­ing, so I’m con­fi­dent about throw­ing some­thing into the al­bum that’s go­ing to scare me at the time of record­ing be­cause I know in a year I’ll have it nailed. You can only do what you can do in the stu­dio, we don’t fake any­thing, so there are some bits I’m push­ing it to my lim­its. You’ve got to be­lieve in your­self, prac­tice, and get it nailed.”

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