Writing & Recording
The band began work on the The Argument in 1999, after touring in support of End Hits. This process saw the group taking more time than usual to write and demo material. Each member would bring their own individual riffs and ideas to the band, jam on them, and then begin piecing the songs together into various configurations before deciding on what would become the final versions.
In some cases, the group picked apart songs that were already written to form completely new works. When asked about this process, and the track "Epic Problem" in particular, singer/guitarist Guy Picciotto explained to Pitchfork Media in 2002 "This time, for some reason, we just came up with a new idea for it. The whole verse for that song is different from what we had before, and then suddenly, the chorus. It's like Lego's. I mean, that's really the way that we work. We assemble stockpiles of parts and ideas and then we just kind of just keep clicking them together until something works. There's a song, "Full Disclosure," and there's a song, "Strangelight"; for a long time, they were the same song. But if you listen to the record, they don't sound anything alike. It's hard to imagine that they could ever have been linked, but for a long time they were." Other tracks, such as the "The Kill" were arranged entirely in the studio.
The album's recording sessions took place between January and April 2001 at Inner Ear Studios and Dischord House in Arlington, VA, located just outside of Washington D.C. The band once again worked with producer/engineer Don Zientara. During the recording process a considerable amount of time was spent finalizing each songs production, in particular the album's drum tracks, in an effort to give the album a unique feel. Drummer Brendan Canty explained to Modern Drummer that "We recorded them all very differently in terms of the drum sounds. We used a lot of different drum kits, cymbals, snares, and miking techniques.
Read more about this topic: The Argument
Famous quotes containing the words writing and/or recording:
“There is a difference between dramatizing your sensibility and your personality. The literary works which we think of as classics did the former. Much modern writing does the latter, and so has an affinity with, say, night-club acts in all their shoddy immediacy.”
—Paul Horgan (b. 1904)
“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.”
—Henry David Thoreau (1817–1862)