Some records are all tracked – drums, piano, vocal – and kept. The Beekeeper was very much like that. It’s very much ‘no make-up, no airbrush, no nothing’. And it’s not one of my favourite records because of that.
Because I really do like a good airbrush. I’ve learned that about myself.
The Beekeeper is really more like a whole b-sides experiment, because the arrangements weren’t hammered out. That’s why I think my reaction to that with American Doll Posse became ‘alright, now, let’s do a band record’. And it was a very different kind of approach. It was micromanaged, but it was very much about becoming a band mentally, not a singer–songwriter. It was about leaving all that behind. And now, with the new record, it is about embracing the writer and the singer again along with the musicians and arrangements.
When you’re first making records, you haven’t tasted the tip of the devil’s wand. But on your tenth album you’ve done more than taste it. You’ve enjoyed it, and you’ve gotten ill from it. And I think the song ‘Curtain Call’ covers that. Sometimes you don’t realise that you’re being totally and completely absorbed. So you stop your message, and your questioning of control. Sometimes you think that you’re in a place of power, and yet you don’t realise you’ve signed up to something that is going to make sure your message is either broken or not put out.