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What gear were you using in the studio for the Sistrionix sessions?
“There was a little bit of mix and matching. I used my [1976 Fender] Mustang for the entire record. I played around with a few different pedals. The amp I used for most of the recording was a custom-built amp that [producer] Lars Stalfors had. That was really awesome.
"I like to keep my pedalboard pretty minimal in terms of consistency of our sound. I like to keep true to the minimalism of our band, at least for our first album. I think I’m going to buy a few more pedals now we have the first album under our belts. I’m singing and playing guitar at the same time so if I have too much beneath my feet then it can become really difficult because I have to keep looking down to see what I have to hit – so I try to keep it pretty minimal on my ’board.”
The closing track on the album, Six Feet Under, has a great swampy slide riff. It’s a bit of a departure from the rest of the record. Where did that come from?
“Six Feet Under was fun for me, because I played slide on that one. It is a bit of a departure from the rest of the album, and we really love that song, but it keeps true to the golden age of rock ’n’ roll that we love so much – Zeppelin had these really epic, longer experimental jams. And then all of my solos are all so much fun, they’re all my favourites – End Of The World, Bad For My Body...”
The album clocks in at under 40 minutes, with almost 10 of those made up of the closing track. Was keeping it lean and mean a conscious move?
“We’re not into filler. It was hard because we had so many songs and there were a lot that didn’t make it on the album. We didn’t want a long album – we wanted to keep it short.”
How much input did Lars Stalfors have in terms of finding your tone?
“We wanted to get the tone of the album to sound as close to the live sound as possible, which was surprisingly quite challenging. We’ve recorded with two other producers before working with Lars.
"The first thing we did with Lars was End Of The World and it was very clear very quickly that we should make our album with him because he really got it and he made it sound expansive. Lars was very hands-on in helping me get the right tones for the album. He had a lot of great ideas.”