I commenced writing new songs for a record about a year ago but got very serious around July of this year. since then I have been pretty much completely off the grid except for this website. I postponed all of my fishing charters until a later date and since mid-August I’ve been in the studio non-stop, 7 days a week working from 7pm until 7am. I wake up around 3 or 4 in the afternoon and I’m sorry to my friends who haven’t gotten any callbacks or email responses. I am on a mission to try and make a truly classic album and haven’t been so focused and driven in many years. The music will speak for itself when it’s released next year, to my ears and those people whose opinions matter it is pretty damn smokin’. My band is a combination of the best musicians I’ve encountered over the years. Guy Heller, Claude Coleman, Chuck Treece, Dave Dreiwitz, Glenn McClelland, Joe Kramer, Andrew Weiss, Joe Russo, Scott Metzger, Josh Homme, Nick Oliveri, the list goes on and on and I’m sorry if I’ve forgotten anyone. We are in the thick of it right now and if we were forced to stop we’d have about 2 full albums of keeper quality songs already. We are keeping at it until November and then we’re going to Los Angeles to record the album with Josh Homme as the producer in mid-January, you heard it here first, although I’ve known this for months. Sonically it’s pretty damn impressive, my engineering chops have improved significantly over the years (25 years of recording tends to help) and if you can’t already tell, I’m very excited. It’s hard to even call what we’re doing “demos” because they sound incredible. Here’s a photo album of a recent session. I tried to make this album public, please let me know if it works!
Fuck Josh Homme, his band consists of the entire touring lineup for the last incarnation of Ween (minus Aaron). Not only that, he sounds REALLY EXCITED about this shit -- he who claims not to have listened to a single Ween record after it was released except The Mollusk.
Plus look how fucking happy he looks. Look at that face, that face says 'Let Gener record some schmaltzy spoken-word shit, I'll be over here tearin' some shit up.'
Fact#1: Every musician automatically thinks whatever they are working on is the best shit ever.
Fact#2: Every musician apologizes for their creations no one likes by saying, "I was in a dark place in my life, but the next album is going to be off the hook."
Fact#1: Every musician automatically thinks whatever they are working on is the best shit ever.
Not true of Deaner -- like I mentioned, he's said that he pretty much forgot about every Ween album immediately after it was released with the exception of The Mollusk. Everything from White Pepper on -- the arguably less-brown albums -- feel distinctly like Gener joints. I kinda think that Deaner was profoundly embarrassed by at least half of the tracks on Quebec and Cucaracha.
Quote:
Fact#2: Every musician apologizes for their creations no one likes by saying, "I was in a dark place in my life, but the next album is going to be off the hook."
I didn't get that he was apologizing for anything, and although a lot of Ween fans are lukewarm on Cucaracha, no apologies were ever forthcoming (nor should they have been -- Cucaracha kills). What I got from that article is that Deaner is dealing with being dumped by attempting to prove that he can do something amazing without Gener. Gener is an amazing songwriter, but he's not an amazing musician. Claude Coleman, Dave Dreiwitz, Glenn McLelland, Andrew Weiss -- all absolutely top shelf musicians. By taking the focus away from the Ween-ness of it all -- which even as a superfan I can admit started to feel pretty self-conscious around 2003 -- and placing it on the music itself, something distinctive and really fucking amazing is possible.
I never had a lot of love for Moistboyz, and I thought Deaner was going to devote all of his energy to that after Ween broke up. Glad that's not the case.
In the Hunter Davies biography, the Beatles all talk about how they never really thought their albums were that good. They said that they usually had to write about half the album in the studio just because they didn't have enough material, and some stuff they just sort of schlocked together at the last minute, and those were always the ones the critics raved about. They also talk about how there was almost never any great hidden intention in their tracks, just cute turns of phrase, mostly meaningless, and they were always amused by the fans reading into their work.
As a sometimes writer, I can say that it's a hilarious feeling when someone reads these incredible laced nuances into your work that you never imagined. Asshole artists are the ones that buy into their own hype based on these things. The Beatles were not like that (at least most of them, ahemPaulahem, for most of their Beatles careers.) It sounds like Deaner is like them a little bit. For him to have that attitude, and now be really excited about something for the first time in a long time, makes me think that it is going to be fairly incredible. Either that or it'll be shit and we'll realize that he must have had horrible taste all along and made beautiful music against his own instincts, but I doubt that will be the case.
Fact#1: Every musician automatically thinks whatever they are working on is the best shit ever.
Not true of Deaner -- like I mentioned, he's said that he pretty much forgot about every Ween album immediately after it was released with the exception of The Mollusk. Everything from White Pepper on -- the arguably less-brown albums -- feel distinctly like Gener joints. I kinda think that Deaner was profoundly embarrassed by at least half of the tracks on Quebec and Cucaracha.
Quote:
Fact#2: Every musician apologizes for their creations no one likes by saying, "I was in a dark place in my life, but the next album is going to be off the hook."
I didn't get that he was apologizing for anything, and although a lot of Ween fans are lukewarm on Cucaracha, no apologies were ever forthcoming (nor should they have been -- Cucaracha kills). What I got from that article is that Deaner is dealing with being dumped by attempting to prove that he can do something amazing without Gener. Gener is an amazing songwriter, but he's not an amazing musician. Claude Coleman, Dave Dreiwitz, Glenn McLelland, Andrew Weiss -- all absolutely top shelf musicians. By taking the focus away from the Ween-ness of it all -- which even as a superfan I can admit started to feel pretty self-conscious around 2003 -- and placing it on the music itself, something distinctive and really fucking amazing is possible.
I never had a lot of love for Moistboyz, and I thought Deaner was going to devote all of his energy to that after Ween broke up. Glad that's not the case.
Fact#2 wasn't referring to a Ween apology. The point is everyone says, "This shit is going to be amazing," then fast forward a year when no one likes it, THEN they apolgize and start plugging their next endeavor. Everyone does it.
I'm not saying his new album won't be amazing, but believing it because the artist said so and smiled in a picture is faulty.
For him to have that attitude, and now be really excited about something for the first time in a long time, makes me think that it is going to be fairly incredible. Either that or it'll be shit and we'll realize that he must have had horrible taste all along and made beautiful music against his own instincts, but I doubt that will be the case.
Naw, man. Naw. This face don't lie. I just gots to see Deaner shredding again.
I didn't want to say anything when the issue was sensitive, but I am all for seeing that fucking epic band from Sasquatch that was Ween sans Gener if he wants to leave 'em behind and go fart around. Deaner is cooler anyways. I knew this to be true when he stared into my eyes and called me his cock professor.
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