Rolling Stone France (Septembre 2016)

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Emily and Stella were interviewed in Paris about a month ago.

They don’t talk about anything especially new but some bits are worth mentioning anyway:

  • When writing “Heads Up”, capturing the moment was the band’s mantra, unlike it happened in the past. They wanted to speed up the process which ended up being a much easier, smoother one. 
  • Jacob Bercovici and Warpaint share an elective affinity. Everyone was looking forward to working with him again. Stella uses the word “symbiosis” to describe the kind of connection they all felt in the studio. Everyone was at ease and comfortable with each other. 
  • They stopped writing songs by layering the sound. Usually someone would start playing something and then the others would join in, adding layer after layer after layer: instruments, vocals, harmonies. This time around, everyone wrote stuff on their own and they kind of assembled everything together once in the studio. This was the first time it ever happened. It was a different approach and method but it worked just as well for the band. 
  • “Whiteout” was recorded in one take. 
  • The bass on “The Stall” is very prominent and reminiscent of The Cure early discography. They compare Jenny Lee’s style of playing to Jah Wobble’s and joke about how they call her “Jen Wobble”. 
  • “Today Dear” is a ballad featuring acoustic guitars. 
  • The album is dance-y in the sense that all the tracks are imbued with an energy that’s impossible to miss, but Warpaint’s trademark darkness is still there. So fear not, ye worriers. 😁😉

“People were afraid to speak out because of what it meant for their career. It’s like people in the entertainment industry have the power to influence young people, but we’re also the most terrorised. I think because we’re producing and writing our own music, playing our own instruments, being self-sufficient, that in itself is a tiny protest.” - Warpaint for the Guardian