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There is a part of Fragmentations when he talks about cauterising a wound with a flame, twice over and the word refers to that. How did you first come in contact Mike Patton? Was there an initial spark to collaborate or did the project germinate more gradually? I sent my second Tzadik record with the demo also.
I really respected the fact that there was this guy who could basically just cruise on major label royalties if he wanted to, but instead chose a path of interrogation. It was unnerving to us both how natural it felt. Recording wise, I think my favourite part was Mike screaming directly into my ear acoustically to demonstrate the different upper harmonics he could achieve by varying throat positions. How do you think that process influenced the final work?
To what extent was material pre-conceived rather than emerging through the process of recording? Basically it panned out that I took care of the instrumental parts and Mike took care of the vocals although he contributed some excellent Moog. The recording process for the instrumentals was long and multi-faceted and then we did most of the vocals in As the press blurb states and has been widely misconstrued , I locked myself away for a couple of weeks with just pen and paper and my record collection.
This was in a really shitty part of France, in Picardie to be precise—depressed rural community, lots of drunk soldiers, middle of nowhere.