Lucifer On the Moon is an impressive accomplishment, as engaging as its predecessor, albeit in a completely different way. There’s humor in a lot of Britt’s songs, and I just wanted to add to that and make it our own.” “The challenge was, how do we make this flow in a way that keeps the groove sexy - for want of a better word - gets the melodies to work, and breathes a new thing into it? That’s what I was faced with,” Sherwood says, adding later: “I tried to add a little character, a bit of charm to already very witty songs.
Jones.” Sherwood also added plenty of new elements, lacing the record with melodica, and enlisting bassist Doug Wimbish and drummer Keith LeBlanc - longtime session players for Sherwood’s label On-U Sound - to reconstruct entire rhythm tracks. To do that, Sherwood not only excavated the original multi-track recordings, flipping rhythms, reworking instrumentals, chopping vocals, and unearthing buried gems like guitarist Gerardo Larios chatting in Spanish during an off-take of “The Devil and Mr. We wanted someone who could take a more human approach.” A big reason Spoon approached Sherwood, Daniel says, was because they wanted to work with someone who wouldn’t just churn out a remix as rigid as the ProTools grid it was created on: “It was more about what can be done by a human hand, or by splicing tape, or with an echo box. Spoon have always been keen on remixes - not just because the insatiable music industry monster demands them - so long as they’re crafted with care and attention. On the other, they’re a unique form brimming with potential. On the one hand, there’s the crass commercial side: “Whenever you finish an album, you can hardly get it out the door before the label and everybody else wants more - B-sides, alternate versions, remixes,” Daniel cracks. “Getting to work with Adrian, it was delightful that, for the first time, these songs were being worked over in a very studio manner,” Daniel tells Rolling Stone. The results were so good that Sherwood kept doing more, until he eventually reconstructed the entire album into the aptly-titled Lucifer on the Moon, set to arrive Nov. dub producer Adrian Sherwood to remix a couple tracks. Not long after Spoon finished Lucifer on the Sofa, they reached out to storied U.K. That guiding principle resulted in a stellar rock & roll collection, and made Lucifer one of Spoon’s best records to date.Īs it turned out, a stranger, headier, way-more-out-there album was buried beneath those back-to-basics riffs. But for Spoon’s tenth album, Lucifer on the Sofa, Daniel wanted to do away with all of that, and start with just vocals and rhythm guitar.
And it’s these tendencies that have helped keep the Austin indie-rock outfit so intriguing and inventive over the last two-and-a-half decades. Spoon’s Britt Daniel has always loved gadgets, held a soft spot for studio wizardry.
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