Official Byu Cougars Basketball Retro Swish Shirt
I also feel like the album has a very specific arc—where it starts is very different from where it ends. How did that story come together? It came really naturally, because I allowed myself to have any emotion that was coming while I was writing. That was part of the mayhem. There’s records [on the album] where it’s about seduction, that voice in your head trying to make bad decisions. There’s moments where life is putting pressure on you, and you need to rise to the occasion. There’s moments about temptation and adrenaline; about anger and fame. Then there’s peak confidence, where I’m just feeling the best I could possibly feel at a party. Or when I’m missing somebody that’s no longer in my life, and I’m reflecting on ways that I wish life was different. But ultimately, I wanted the chaos and the mayhem to end. It’s interesting because [the album] starts to slow down with “Blade of Grass”—but that’s still a dark record. You still get this feeling that there’s something unresolved. But by the end, with “Die with a Smile,” I think I’ve truly found some peace. I liked there being an arc to the record that begins disorderly, with a night that you could not possibly tame, and by the ending there’s peace, bliss, and hope.Official Byu Cougars Basketball Retro Swish Shirt
I loved the tension between a song like “Blade of Grass,” which is a little more tender, and a track like “Killah,” which is more about sex and lust. I guess you need both in life! We’re all of it. Human beings are all of it. We are all asked to define who we are and explain ourselves. I’ve had a really hard time with that in my career. I’ve found it really hard to answer those questions, or maybe not wanting to answer those questions. So I allowed myself to be lots of contradictory things, and I think that’s real. “Blade of Grass,” in a way, has a lot of insecurity in it, and “Killah” has none. But I’m definitely the same person and I definitely have both of those feelings. Talk to me about the production of the album. I recently watched your making-of video for “Disease” and was fascinated by how intricate the audio layering was. How was the studio process different for Mayhem compared to other albums you’ve made? Every record I’ve ever made, I always have my fingerprints on everything. But I returned to a style of production on this album where it was a heavy mix of live instrumentation and programming—using a lot of the early influences of the music that I fell in love with. I was relentless in the studio, and I worked with some great collaborators. Cirkut is an incredible producer, Gesaffelstein is absolutely amazing, and Andrew [Watt] as well. I played piano and do synth work on it. Whatever we needed to happen at any given moment, we could make happen. We had so much gear and we just had a blast.
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