J It ’ s true most of the time , actually ! We did try to do that but it ’ s impossible to do all the time . Some of those tracks have got , like , 30 guitars , like “ Everso .” And to keep panning them like that would be absurd but , as a general rule that ’ s how we approached it . We tried not to layer it too much .
TRW Well , what I find fascinating about you guys is that I have no idea who ’ s doing what , ever . Keith Richards calls it “ weaving ,” but even in the Stones you can usually tell which player is contributing which parts . How do you guys come up with arrangements that are so well integrated ?
J I think we absolutely do what Keith calls “ weaving .” I think the thing about us is that there ’ s no distinction between riffs and leads — it ’ s riff against riff .
A I suppose there ’ s a fair amount of design . I think in the studio we ’ ll be like “ keep it running ” and “ I just want to do this little thing . . . “ and all those details are what make up the whole .
TRW Do you write together ?
J No , not really . Well , we do in rehearsals . We jam stuff out and things come together . I ’ ll have ideas on cassettes or Garageband now . Something like “ Everso ” was from a soundcheck in ‘ 98 and there was a recording of it and we flipped the tape backwards and that supplied the riff . And then we worked on that in the rehearsal room in London four years ago . It ’ s organic .
TRW So when you ’ re writing , to what extent are you fretting about tonalities ? Is it a technical exercise ?
J It matters a lot to us but sometimes it can be hard . For example , on this tour , we ’ re borrowing gear from our manager ; as it turns
J It ’ s true most of the time , actually ! We did try to do that but it ’ s impossible to do all the time . Some of those tracks have got , like , 30 guitars , like “ Everso .” And to keep panning them like that would be absurd but , as a general rule that ’ s how we approached it . We tried not to layer it too much .
TRW Well , what I find fascinating about you guys is that I have no idea who ’ s doing what , ever . Keith Richards calls it “ weaving ,” but even in the Stones you can usually tell which player is contributing which parts . How do you guys come up with arrangements that are so well integrated ?
J I think we absolutely do what Keith calls “ weaving .” I think the thing about us is that there ’ s no distinction between riffs and leads — it ’ s riff against riff .
A I suppose there ’ s a fair amount of design . I think in the studio we ’ ll be like “ keep it running ” and “ I just want to do this little thing . . . “ and all those details are what make up the whole .
TRW Do you write together ?
J No , not really . Well , we do in rehearsals . We jam stuff out and things come together . I ’ ll have ideas on cassettes or Garageband now . Something like “ Everso ” was from a soundcheck in ‘ 98 and there was a recording of it and we flipped the tape backwards and that supplied the riff . And then we worked on that in the rehearsal room in London four years ago . It ’ s organic .
TRW So when you ’ re writing , to what extent are you fretting about tonalities ? Is it a technical exercise ?
J It matters a lot to us but sometimes it can be hard . For example , on this tour , we ’ re borrowing gear from our manager ; as it turns
26 TONE TALK // RIFF AGAINST RIFF : THE PRACTICAL MAGIC OF SWERVEDRIVER