(We tend to try and hold back on hooks and payoff/super-dominant lines, trying to maximize their effect by NOT playing them over much. The organ/guitar interplay is only in the middle and at the end, pulling out completely for the “rebuild”. Mike is good at pointing out when/where we should do this [I’m always horrible and want to play the best parts over and over again], which we do on the soon to be released “D-Loop” on Glass Walls, the unreleased “The Late Keanu Reeves”, and others.)
We mostly write our songs during practice, which keeps the music organic and give the songs more of a living vitality. Plus they don’t get as stale since we keep jamming and discovering new parts. However, we’ve always said “we should use recording as a writing tool”, and Dan was the first of us to really do this. After we had written and recorded the song, he came up with a whole new harmonizing track, which Mike took over, and you can can hear in the middle section after the breakdown. Eventually, since I do nothing during the breakdown/rebuild part, I started fiddling around with vocoder, but we never recorded this, and you can only hear that during our live performances.