Recording
The album was recorded during 2001, 2002 and 2003 at various studios throughout the United States and Canada, including Stagg Street Studios in Los Angeles, Stratosphere Sound in New York City, Rancho De La Luna in Joshua Tree, California, Glenwood Place Studios in Burbank, California, The Sound Factory in Hollywood, Sound City Studios and Kevin Augunas's residence in Van Nuys, California, and French Kiss Studios in Montréal, Canada. Recording sessions began in October 2001 and initially she intended to record in Chicago, Illinois, but those plans were later abandoned. Although each session had individual engineers, Auf der Maur and Chris Goss were primary producers of the project. Auf der Maur also financed the recording sessions herself, as she was not signed to a record label at the time. She also self-financed the sessions to "secure creative control" as she "wanted the foundation of it to be really pure." Describing the recording process, Auf der Maur said: "The L.A. section of the record is the prettier, more ethereal stuff the dark, rock stuff actually –– which is really my main route and the muscle of the record –– was recorded in Canada. And then in Chicago we're recording some songs with James and Chris that are more mid-dissonant pop –– mid-tempo, mid-volume." Upon the completion of the recording sessions, Auf der Maur's budget ran out and did not have funds to mix the album but was signed to Capitol Records soon afterwards.
Various musicians collaborated during the recording of Auf der Maur. Former bandmates Eric Erlandson and James Iha performed guitar to "Would If I Could" and "Skin Receiver," respectively, Mark Lanegan provided additional vocals to "Taste You," and Queens of the Stone Age frontman Josh Homme played guitar on four songs and backing vocals on "Skin Receiver." Speaking of the contributions, Auf der Maur said: "I am so lucky I have all these talented friends. It is not too hard to find musicians who are available to play. It just so happens the most generous people are also the best and were willing to play." During the earlier stages of recording, a duet with Rufus Wainwright was also considered.
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“Self-expression is not enough; experiment is not enough; the recording of special moments or cases is not enough. All of the arts have broken faith or lost connection with their origin and function. They have ceased to be concerned with the legitimate and permanent material of art.”
—Jane Heap (c. 1880–1964)
“Write while the heat is in you.... The writer who postpones the recording of his thoughts uses an iron which has cooled to burn a hole with. He cannot inflame the minds of his audience.”
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“I didn’t have to think up so much as a comma or a semicolon; it was all given, straight from the celestial recording room. Weary, I would beg for a break, an intermission, time enough, let’s say, to go to the toilet or take a breath of fresh air on the balcony. Nothing doing!”
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