Did you go out and really hunt for new/vintage gear and synths to capture that particular sound?
M: Going over to the DFA studios, they’ve just got so much gear there that you can’t nearly get through it all really. T: They did all the hunting for us. M: Yeah, and there’s always new stuff arriving. They’re always just buying, collecting and hoarding stuff. Yeah, there was just so much for us to experiment with and to get new sounds out of and sort of adapt to what we’re doing. So yeah, a lot of that was done for us, but I mean, also, Dan bought a bunch of new synths. D: Yeah, I spent all my money on sort of three synthesizers – probably $7,000-$8,000 worth. They ended up all over the record. I think it helps the particular kind of music we make. Buying new gear and that sort of thing almost shapes the way a record can sound. The creative rush you get just finding something new can end up influencing the sound of the record. So I think, yeah, the equipment probably played a big part. Some of the interludes were recorded and cut from four track tapes. Any particular reason you guys
