Kevin Devine and Andy Hull treat PropertyOfZack better than we could ever ask for, and they always give us incredible interviews. I was able to catch up with the duo at Bad Books’ Philadelphia, PA tour stop for one of POZ’s best interviews of all time. Kevin, Andy, and I discussed Bad Books’ new found cohesiveness and success, all the details you could ask for for Kevin’s Kickstarter campaign and two upcoming albums, Manchester Orchestra’s reboot with a new split and album, and so much more. We couldn’t be more excited about the interview and all the great details within it, so check out all of it below!
So this tour is going really well, it seems. This is the fourth tour for Bad Books right?
Andy Hull: Yeah. We did a few short ones so yeah, four.
How many was it, like a thousand in Ohio?
AH: Yeah its nuts, I think we could have done that easily in New York from what we were told; in New York and Philly and Boston as well. Yeah totally nuts. The reception is really cool. Nobody’s asking for anything other than Bad Books tunes. People are actually enjoying the songs.
You can play a full set now, that’s awesome. No filler.
AH: There’s still plenty of bullshit, but yeah.
Kevin Devine: It feels like the balance is… there is one. It’s definitely more… the bullshit is an accent, as opposed to potentially being the main thing.
AH: Half if not more than half of the show…
I know that for the first record, or even for those first shows, there was always talk of, “This is really cool, but it still feels separated between two parties, rather than one band.”
AH: Dude it is so much different now. It feels like a real thing. It feels exactly like a real band. We’re all developing identities. It’s really cool because it’s going to be sweet to see what happens with the next record now that we have an identity. We all have things that we do in the band now. Rather than, “You do this. You play this.” There are members that are doing things. We can only go up from here.
KD: I think an interesting thing about how that live experience can translate into that next record too is that in carving out those identities, I feel like even though it’s a band it’s been something of a studio project for us in the studio. Like me and you [AH] end up doing a lot.
KD: And I feel like it’s nice to have that as an option. But I also think what this enables us to do in the comfort level we’re reaching here is that the next record can be more like a rock band playing songs; rather than building songs in the studio.
There’s been some satellite radio play too, right?
KD: Amazing response there. Like the number one song the last couple weeks on there.
AH: Yeah, nuts.
Especially because it’s four months out since the release.
KD: Yeah four and a half or so.
AH: There’s two different ways a record can go, you know? You could put a shitload of promotion behind it and then have a really big first week and then everything will trail off, or you can try to do it organically where it will continue to grow and just steady as it goes. It feels like that’s what’s happening with this record. It’s starting to connect more and more the longer it’s been out. It’s cool.
I assume you guys are going to be really busy this year. If the record’s doing well and tours are doing better than well, is that something that you now want to try to carve out more time for Bad Books?
KD: Yeah we were having that conversation last night. Like how it’s kind of…
AH: Short answer, yes we do want to. It’s just about making that decision. And hopefully finding some sort of time for it. It’s a timing thing really. I would love to do it more though, especially since it’s going better.
Have you found that with this touring and the band being more cohesive, that you actually have wanted to do a record sooner rather than later?
KD: We haven’t really talked about that yet. We’ve talked a little bit about doing it, but not about a timeline for it. Because I don’t really know, realistically, what that would look like.
AH: That’s the thing is when we could do it. But yeah, I certianly am in my head, being on this tour like, “Yeah we should be writing and we should go in immediately and go make another record.”
It’s a good problem to have.
KD: Yeah. It’s a luxury problem; it’s awesome.
In terms of Bad Books as a separate entity, do you think there are people now that are just Bad Books fans?
KD: I kind of do. Or I kind of feel like there are people who are more… there are definitely people who like it of it’s own merit. And I think that maybe there are some who even like it more than they like either of our things. Probably not the majority. The majority is probably still kids that are coming from Manchester’s world and my world. But I think it’s built itself into it’s own formidable entity. It’s totally amazing, yeah.
AH: It helps a lot that the second record is just such a… in my opinion, stronger album than the first record. The first record is kind of your perfect stereotypical first album for a band. It’s rough and a lot of loose ends. It’s going in all directions, we hadn’t really found out who we are. I’m stoked that we started with something that, you know, I’d saw was a three star record. I’d say this one is a four star record. Now we’re going to try to make a five star record.
Will Bad Books be going to rest for now until there is more time?
KD: Yeah I guess we’ll figure out what happens.
AH: Hopefully going to try to play as many festivals as we can and get some… We’re down to work. And honestly working with Kevin is a lot easier than working on my own. Not that I’m working on my own with Manchester, but just being the sole front guy, it’s just half the work. It feels nice.
KD: It’s totally noticable. It’s lovely. I feel like Bad Books tour is like… It’s still in a van and a trailer and all that stuff, but the fact that it’s other people doing this stuff sometimes, I’m like, “This is sick. Just hanging out while someone sells the merch… that’s amazing!”
Are we cool to talk about prospecitve projects?
KD: I really wish you wouldn’t… Yeah I don’t care.
AH: What do you mean?
KD: Like Manchester and me.
AH: Oh yeah.
KD: But I have to answer all of the Manchester questions and he has to answer all the the…
AH: That would be cool.
Kevin, you’ve had a very successful Kickstarter. I remember seeing it go up and was shocked to see how much money was raised within just a few hours.
KD: We (Andy and I) talked for like an hour on the phone that day.
AH: Right when it went up I called him. He was freaking out. I said something to you [KD]. I was like, “Dude, can you fucking imagine if this thing goes to a hundred thousand bucks?” and you were like, “I can’t even… Like no way.” Then we talked for like an hour and I was like, “Just so you know, as we were talking, you made nine grande. While we’ve been talking.”
KD: Yeah. No bullshit no folky whatever. Honest truth: I though we had… I wouldn’t have been surprised if we made fifty, I wouldn’t have been surprised if we didn’t. I would have been bummed, especially if we got to like forty nine and then had to fuckin’ void the whole thing…
AH: I was saying stuff like that to him as well. Because it spiked and he’s like, “I’m worried.” This was like two or three hours after it had gone up. I’m like, “Dude if it get’s to like forty, you can just take a loan for the ten grand and then just get the money.” He’s like, “I never thought about that…”
KD: I didn’t ever think of it that way. To that whole thing, that was my honest-to-God thought. I never thought it would do what it did in a day. No fucking part of me thought that.
POZ: I don’t think anyone did.
KD: Other people did! Other people were like, “Yeah it’s going to!” And I’m like, “No I don’t think so man.”
POZ: When it got to twenty five I thought, “Woah, It could do it this week.”
KD: Then it got to forty by the time my girlfriend got home from work; like seven or eight at night. I was like, “I think this is going to happen tonight.” Which was crazy. That was great, it was insane.
How long did you consider doing the Kickstarter or not doing it, based off of your artistic beliefs?
KD: A long time. I think you (AH) and I had a conversation four or six months before it went up. You were jazzed on it.
KD: Because I had read this article about Kickstarter being used and pledging and all of these things being used as a tool for an established artist. Maybe that it would be more effective in that sense because whether it’s millions of people or thousands of people, you’re a certain known commodity to people. They believe in what you make. It might be that they’re the prime person to do something like this because you’re not trying to convince people, “I’m trying to make a record and it might be cool.” Or it might suck.
POZ: People have faith in you.
KD: Yeah. You’ve built a relationship. Then I completely talked myself out of it. To the extent that this wasn’t happening as of Thanksgiving; maybe even into December. Then I thought… I don’t know what swung back. That happens in me a lot. I chew, I chew, I chew, I chew, and then all of the sudden it was kind of like… I think I was scared of how it had been done poorly. I was scared of how it might be percieved. Those who did it and took advantage of the audience.
POZ: Yeah, even recently there was a lot of shit with the Amanda Palmer thing.
KD: And the dudes with Animal Collective. There was a lot of negative stuff associated with it that kind of freaked me out. I’m really glad that I didn’t make that decision. Any fear that I had was totally obliterated by the audience’s voice. It was a very clear response.
The last record came out in 2011. That was the end of Razor & Tie.
KD: It was just for that one.
Even when you weren’t sure what to do, Kickstarter or not, did you know you wanted to do it independently?
KD: I had been talking about doing it independently. I certainly knew that I had absolutely no interest in doing it with Razor & Tie. Not that R&T was falling over themselves to do it with me either. But I knew that. I was pretty sure that I wanted to do that on my own, but I knew that was a lot of work. We talked about three or four labels. A lot of it was fine, but a lot of it just felt like lateral. This might be the opposite. I might fall through the fuckin’ floorboards and be like, “Why did I do that?” or it might be this insanely gratifying experience that makes me feel like we’re making the right choice. None of it’s going to be like, me alone in my house. I’m going to have people supporting and helping. I know I need that. But the traditional way it goes, I don’t know how to do it right. I’ve tried it a bunch of different ways and it doesn’t work. For me.
From another point of view, Nine Inch Nails signed again. They were like, “We can get the same two million people to always buy our record, but what if we want a third million?”
KD: No I see that. And there are still good labels. I don’t mean that the whole thing is… I just feel like I’ve tried a bunch of different things at a bunch of different levels and it might be a nice thing to see what it’s like to… But I mean there will still be some kind of infrastructure.
When it came down to doing two albums, was that a choice where you were like, “If I’m going to go for fifty grand should I bring more?”
KD: Well, part of it was that and part of it was that right before we made Between The Concrete and Clouds, when we were doing Bad Books shows in California, Ben and I made two songs with Rob Schnapf. I’ve made a record with him and he mixed the Bad Books record. I made another single with him. The two songs I liked so much that at that time, I was like, “If I had time I would just want to come back here and make another record right now. Just to have it ready.”
AH: He started talking about that then.
KD: At the Troubadour I think.
AH: Yeah in January 2011. He was talking about how, “I just need to come up here and do this with Rob alone and make something like this easy.” Or you were talking about 7”s that let up to an album?
KD: That’s right. That’s exactly right. You do remember.
POZ: Good thing he’s here. He is answering as Kevin.
KD: It’s nice to know that your friends are listening. That’s great. Like they pay attention. I just wanted to make a record with Rob. Well I knew I wanted to do that, and Jesse’s been talking about wanting to make a record. He’s talked to me about that in little Jesse ways for eight years. Then finally he spoke up in this very clear directed way about three months ago. “This is what I think about your records, this is what I think about your song writing. This is what I think about your career. This is why I think this happens. This is why I think this hasn’t. This is what I love, this is what I want to see changed. I want to make a record with you.” I was like, “Fuckin’ awesome, let’s do it.”
Which one is full and which is acoustic?
KD: Well they’re not… The Jesse one is a rock record and it’s like a ROCK record. More than anything I’ve ever worked on so far.
AH: Yeah it’s bloodthirsty. Sick. It is. I’ve only heard really bad sounding demos, but it’s a version of Kevin. It’s a version of him that’s kind of this punky, bloodthirsty, loud rock thing. And you can hear the Jesse influence. There’s this section that goes to half time in one of these songs that I really like. It was totally a momment where I was like, “Oh dude, that part’s sick.” And I asked Kevin, like, “Who’s idea was that?” And he was like “That was Jesse’s idea.” Those kind of like fused-in sections, I can’t wait to hear it. Definitely when I heard them, right before we left for this tour, I said I think it’s the best shit.
KD: So that record’s going to be like that. And the stuff with Rob… I’ve always had a skitzophrenic mind with records. I think where someone like Andy puts some things into Right Away!, some things into Manchester, some things… I’ve always been stubborn about it, like, “No! I want to make this record where it’s got all this stuff in it.” People will figure it out. I think some people that really love it have figured it out, and also sometimes I think I’ve done it to the detriment of the strength of the record. I probably could have made more focused records, maybe, out of all of them. So splitting your brain in half and making… like the Rob stuff isn’t going to be all me and an acoustic guitar, there will be other instrumentation, but it’s just really markably different, stylistically. There will be four or five songs on that record that will be that. There are people that love what I do that really love that part, and then people that like what happens when they come to see me with the band and it’s more visceral and noisy.
Is writing for both done?
KD: No, but it’s close. I’m trying to go in with a pool of twenty-four or twenty-five songs for the two. And I’m around twenty.
When do you go in?
KD: I go to Rob March 11th. And Jesse starts April 14th.
POZ: Quick. Back to back.
KD: Yeah, knock them out.
AH: So much fun. It’s going to be so much fun. I’m jealous of it.
Are those releases coming out close to each other?
KD: We don’t know what we’re going to do yet. The initial idea was to put them out at the same time. I don’t want to say definitely, but that’s the initial idea. Because why not? Kinda doing whatever the fuck you want at this point anyway. So just put them out at the same time.
You think you can break one hundred?
KD: It’s at 97 something.
POZ: When’s it end?
KD: About a week.
POZ: Oh you’re totally going to break it. Especially since at the end it’s always a spike. Even if you’re way over.
KD: Yeah it’s awesome. We’ll see.
So if you wanted fifty and you have one hundred, are you just going to push the extra resources towards touring or better marketing?
KD: Yeah, because I also in retrospect when I’m looking at it, I’m like, “Fifty to record, tour, two records… Record and release and two records is pretty modest.” A hundred to record, release, and tour two records internationally, becomes like “You can really do it.” And I don’t think I would have gone to a record label and gotten fifty grand a record for those two records. So…
Are you concerned at all about doing the records back to back?
KD: The quality? No. It’s not like I’m rushed. I’ve been writing them for months. So it’s not like I’m like, “Oh fuck, now that these two records are funded I had better write some songs!” I do want to make sure they’re really good: to my standards and to the producer’s standards. If I had sent eleven songs to Rob and Rob had written back like, “Hey dude, this sucks.” Or if I had sent the songs to Jesse and he had been like, “These are nowhere near where they need to be.” But both of them have been… I did have a crisis with the Rob record because I was spending so much time with the Jesse record and it’s such a new feel for us, stylisticly, that I was like, “Maybe the Rob record’s not there.” Then I listened back to it and I think it’s actually really nice.
Have you thought about how you’ll mend the two when it’s time to tour?
KD: We’re working on that stuff now. I have thoughts on that and that could be… I have thoughts about it but I don’t know yet.
To finish things on your side, before you answer Andy’s questions, the New York end of the year show was really great. Did you have the Kickstarter set at that point?
KD: I think we knew we were going to do it, but we didn’t know when.
Was that a nice ending? Not that the chapter is ended…
KD: It did feel in a sense, not like an ending, but like a transitional point. I felt like it was awesome that we got to have basically everyone that played on those records play. I felt like it was amazing. There were people that came to that show that I hadn’t seen in forever. Some of those songs I hadn’t played in ten years or something. It felt validating; it felt like a really nice night for the audience too. The energy there was so synergistic.
POZ: Minor heckeling…
KD: But great heckeling! Drunk heckeling! It was a long night.
POZ: I’m sure the bar was happy that night.
KD: I felt like it was the perfect way to transition. I felt like I was a little different on the records and the way we’re doing these records is different. So it felt like a nice button on that chapter. Not like I’ll never play with those people again or or never put a record out with them or any of that.
POZ: It was nice to do it all and it came together.
KD: Yeah. It’s been a fuckin’ awesome year. Between the Bad Books stuff, that show, wrapping up the other touring, and what’s happening with Kickstarter. I’ve never felt this satisfied in my career as I do right now. And it’s fucking February! Very good year. Moving on to Doctor Hull!
POZ: It’s been a miserable year for you.
KD: Listen, ask him something he definitely knows at first, I have to piss. Andy, I’ll be right back. I’ll make sure you’re ok.
Manchester has been silent for over a year now.
AH: More than that.
I think that everyone, fan-wise, has been comfortable with Great Captain! And Bad Books. It’s not like there has been a crazy void. But is Manchester active? Writing and recording?
AH: Um. Yeah, sort of. By that tour that I talked to you at the Electric Factory, we had hit a six year wall. Stuff was obviously… Bad Books wound up being the record that we needed to make to get weird and not worry about Manchester. That was awesome, being able to make that. But yeah, we had been touring non-stop for five or six years straight. So we just kind of relaxed and got this house and stripped the inside and soundproofed the entire thing and had this fully functioning studio. We started writing July the fourth and we have just tons and tons of songs, but we’re not totally content with what we have at this point. It’s kind of been a wild process writing it. Obviously Corley has left the band and we’ve been writing this stuff with this new dude, Andy. And it’s just like a totally different expereince for me, writing music with a band that’s so locked in.
POZ: It’s just tighter?
AH: So much tighter. We have written like twenty-eight songs and we like eight of them. Something like that.
POZ: Pushing yourselves?
AH: Oh yeah, definitely. As hard as we possibly can to make something really cool. I don’t want the next thing that we release to be in any way mediocre.
I remember that interview well. I didn’t think by any means it would be the end of Manchester Orchestra, but I was like, “Shit.” It’s not that you were hating each other. But things looked grim. You were tired.
AH: Yeah. And it sucks. It was so good for me to be home and make records, and not have to go and do grueling stuff because I could really reappreciate what this is and what a total priveledge it is that people come and see you play. I had talked to friends that had seen me on that tour. They’d be like, “Man you just looked like you hated everything.” It was true. I’d get off stage and we’d kill it in front of fifteen hundred kids, and all I’d be thinking about is how I’d fucked up this section in the fourth song and the entire crowd hated it. I have this really destructive inner monologue when I play shows. I never think of the show when I’m playing, I always think about my life and my marriage and my friends and my career. I told our booking agent Andrew, we played Coachella in April and I wasn’t totally recovered on being burnt out. There were like ten thousand people to see us play, and the entire set all I was thinking was, “This is probably the last time we’ll play to this many people again. This is probably it.” I remember telling Andrew and he was like, “How horrible. How unbelievably depressing is that?” We’d be playing Coachella in front of ten thousand people. Stepping away and doing the Right Away, Great Captain! Tour this summer was super helpful for me, getting back to the basics. Just playing and I think I had convinced myself that everybody was over it. Which was insane because we were selling out big venues and stuff. It was really helpful for us to get away and we’re kind of like… Over the last few months we’ve been on a pretty consistant writing streak where we’re just coming up with a ton of material and not really worrying about whether it’s going to make a record or not. Just like, “Let’s make more music. Let’s write more music.”
Is the next thing that you as a collective five will release a Manchester piece?
AH: Yes. Well we’re doing the split. I’ll give you an exclusive, you ready for this? I’ll take care of you. We’re doing this split… us and Frightened Rabbit, and the other side is us and Grouplove. And we all collaborated. So like us and Frightened Rabbit collaborated on a song and Grouplove and us collaborated on a song. It’s a 12”. It’s really cool. So we’ve been working on that as well. So that will be first new music. I have no idea when our record is coming out, I just know that we’ve got to start it eventually and try to do something. I’m hoping to have a new… I’d love to release a new song this summer. To have something, regardless of any label or whatever. Just to put it out there.
Is there and ETA for the split?
AH: Yeah, Record Store Day. April 20th.
There’s no touring?
AH: There’s no touring, no. We literally start recording the Manchester record the same day that Kevin starts recording his record.
POZ: In your home studio?
POZ: Is that with Brad Fisher?
AH: Brad Fisher and Dan Hannon, who always do our records with us. Yeah they’re doing it with us.
Is there an enddate for recording?
AH: It’s just like we have so much material. I love some of the songs, there’s several that I really dislike. But there’s eight, or seven or eight or nine, where I’m like, “These are one hundred percent, no doubt tunes.” It’s certainly the direction that it’s going. A reaction to what Simple Mathwas, sort of. Probably the exact opposite.
Simple Math had widespread reaction.
AH: Yeah. Absolutely.
POZ: That’s what a lot of third albums are though…
AH: Sure, the weird record. That’s what we were going for: a really expansive, push ourselves as far as we go, get a huge twelve piece orchestra on it.
POZ: Are you happy with that record?
AH: I am very proud of that record. But it’s also one of those things that I feel like I’ll more fully understand. I understand that record more and more as time goes by.
POZ: Do you feel that record needed to happen?
AH: Absolutely. We were actually talking about that the other day. It wasn’t that… that record certainly didn’t lose us any listeners, but it stretched people. There’s a lot of stuff going on. So this is, I don’t know. We talk about how difficult it is to make simple and catchy music, where it seems like it should be easy. I’ve been trying to write songs that are musically and lyrically better than anything we’ve done, but super immediate. Like, “BAM!” I think I’ve cut out all of the bullshit. I’m going to know if people like this record because they’re going to know immediately. I they to be the type of songs that they hear the first time through and they’re singing along by the chorus and when it’s over they want to hear it again. That’s what I’m looking for.
I read an interview that Jesse did that was like, Daisy pushed it too far and we have to bring it back to go in a different direction. You have to come back, and you can go to another extreme, maybe. But you’ve got to bring it back to go forward.
AH: Yeah. But also I think Bad Books was helpful for me. Because there was simplicity in the way that the songs worked and the way that… I thought when we were making it, that they were almost too simple; that I didn’t totally get the record. We spent a lot of time over-dubbing parts to help us get that record. The biggest difference with this Manchester album is that I’ve brought in songs for stuff. I’ve had an idea or an outline or a riff. And this entire writing process with Manchester, I’ve had zero material. We’ve come in every day and we start writing a song. I feel like I have the greatest version of a live GarageBand possible. I have little ideas, like, “I wonder what it would sound like if the drums did this?” and our drummer knows exactly what I mean and starts doing something. “Perfect. What about this?” It’s super open and verbal and everyone is giving ideas. But I have a band that really trusts me, which is really nice. It’s weird to be writing and we’ll get through a first verse and I’ll be like, “Everybody stop, I need to write the lyrics to the second verse.” And everyone stops. And then they come back and they’re like, “Okay, let’s work on it. It’s like live band writing with me. I’m writing the exact same way that I used to, but I have a full band executing all of the shit in my head.
Will it be a different Manchester Orchestra, or is it kind of just the same but you don’t have to wait a week to test out a new song.
AH: Exactly. That’s it. It’s the exact same thing except that I just have it at my fingertips; the ability to hear what it will sound like.
POZ: Is that more helpful to be more straightforward? Let’s say you have a week before you get in the studio. You’re not going to overthink it?
AH: Well yeah. And also, you know if a song sucks. You finish it that day and it’s like, “Oh that song sucks,” rather than sitting on it for a week thinking it was going to be great and then the band plays it and it’s not great and you’re all bummed out because you thought it was great. You know if it sucks, immediately. We’re all really dedicated and I’m almost border-line workaholic when it comes to how much time I spend on this stuff. Which I really never realized until recently. So I’m just trying to constantly work. And I didn’t really realize how much it was until it’s like twelve hour days; we all go eat breakfast together and then we get to the studio and just write all day. By the end of the day we’ve got something done.
To most people that would sound exhaustive… Is it the opposite as to where you were at the end of that last Manchester push?
AH: No doubt. I don’t ever feel tired when I’m doing that stuff. Everybody else, by the end of the night, is ready to go home. I’m like, “Let’s stay.” Let’s keep going.
POZ: You’re fresh.
AH: Yeah it’s amazing. I called you [KD] like, “I can’t explain what’s going on.” It’s like something is happening. Like I haven’t felt a cohesiveness in writing new material.
KD: You can hear it. The songs. I think with something like Simple Math, you say the bullshit, and I know what you mean. But I think you make a record like that; you have to make a record like that to get to make a record that’s straighter. Simple Math was maybe the most elaborate articulation of all of the ideas you had up until that point.
AH: Without an editor. Without anyone ever… You need people around. That was a period of Math where the band… we had three different drummers, we were trying to figure out…
KD: Transitioning too…
AH: Yeah. So it was more like me thinking, “Let’s do all this crazy shit.” And it’s nice to… certainly not reign anything in, because I think these songs sound like way wilder and more wreckless; more wreckless than Simple Math…
KD: Looser. It feels more like a live.
So recording officially in March?
AH: Yeah. Yep. Nope. Making it for free and just; I figure we’ve got to start sometime, might as well get crackin’ on it.
Is there going to be a label?
AH: No, no label at this point. But certainly not opposed to something. Manchester’s had a lot of success running our own merch store, and it’s opened our eyes. Like with this Thrice split that we did; the ability now that we’re functioning as a business is certianly enticing to us. The idea of releasing it alone. I stick with the notion that it would be nice to have a team of people working. Just depends on how much stuff we have to give up. I don’t want to give up that much stuff.
No touring until….
KD: Never again.
AH: Never again. No, I don’t think so… Nothing planned as of now. Scott, from Frightened Rabbit, and I have talked about a solo tour together, but nothing’s come out of it yet.
POZ: How do you know them?
AH: I don’t really. We both really like each other’s bands and we got each other’s cell phone. He texted me one day and we’ve kind of been talking for the last few years. I feel like I know the dude; never met him. But I feel like I’m good friends with him. He and I are certainly really into the idea of doing a full length tour together.
When all of the Right Away, Good Captain! Stuff was happening, we discussed how this would be a third record of a trilogy. Are you going to do more under that name?
AH: I don’t have the answer to that question yet. It feels like…
POZ: It’s just Manchester mode right now?
AH: And Bad Books. At least where I am right now. But my head’s pretty into Manchesterland twenty-four hours a day; pretty much all I think about… Constantly editing in my mind and all that. But yeah, in order for me to do another Right Away, Great Captain! I’m going to have to have an idea that’s so good that it allows me do another RAGC record. And I haven’t had that idea yet.
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