The other thing about that song is we had this shitty fiddle that Dan had brought to the studio. We were trying to make things have a lot more room than the previous records, but we also wanted the drums to sound completely fucked. You can hear it all over the record, but that first song – all the reverb is just this giant corporate office that had been completely abandoned. We would take amps, put them in a hallway and run a cable like 250 feet and feed it as the reverb send. On 'When the Lights Go Out', you can hear all of the reverbs. We had access to all of this room, rooms that were like 10,000 square feet with nothing in them. We had this little corner studio space and across the hall was this giant banquet hall that was totally empty – it was like being in the industrial version of The Shining. We made Rubber Factory in an old rubber factory in Akron. That first song – all the reverb is just this giant corporate office that had been completely abandoned. 'When the Lights Go Out' from Rubber Factory (2004) 'Thickfreakness' is the song the zone we were in the summer and the fall of 2002.
It was totally written to be played on just drums and guitar. It's a strange record, it's the last time we made a record that was basically just drums and guitar with a few bass overdubs and a couple of solos. We had done two songs on a four track, which made it onto the record, the other nine we recorded on my eight track reel-to-reel machine in one day and I mixed it the next day and FedEx'd it out to Fat Possum . The day we signed the contract owner of the label said, “Well, if you want the record to come out in April, you need to send us the record, like, tomorrow”. So we signed with Fat Possum and we wanted the album to come out in April. We ended up realising we didn't have a strong enough position to be going to a major label at that point, we felt most comfortable going and singing with the indie label we had grown up being obsessed with. We were also getting approached by Fat Possum, which was a label we had both bonded heavily over. recorded on my eight track reel-to-reel machine in one day and I mixed it the next day and FedEx'd it out to Fat Possum. 'Thickfreakness' from Thickfreakness (2003) We were trying to present it in a way that felt like a hip hop record. 'The Breaks' best exemplifies that initial direction we were going for.
That was the basic premise of the band when we first started out. We wanted to make music that sounded like Captain Beefheart put with breakbeats underneath of it. Our dads were both way into Stax Records and most of the samples that were being pulled for Wu-Tang were Stax drum loops. When we started putting music together, drum wise especially, we were constantly referencing Wu-Tang Clan and early RZA production. When Dan and I started playing in high school, the one thing we really bonded on was we were really into Captain Beefheart, RL Burnside, T Model Ford and we were listening to a lot of rap at that time. We basically wanted it to feel like a hip hop record so we had all these weird samples throughout the whole album that we ended up taking off – except for in the last track and in the beginning of 'The Breaks'.
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