He would use insane techniques, like putting the band on the roof, and he was at the forefront all the digital equipment that you could use creatively. I saw it and started reading his book, and there was all this stuff about that producer Martin Hannett. We had a recording space above the Strand Book Store in New York, and one night Peter Hook, the bass player for Joy Division, was down there doing a reading. He’d said he wanted the record to be like a cassette tape from the ’80s in a gutter in New York, but found in the future. Several years ago, I was doing a record with Julian Casablancas. Oh yeah! That’s weirdly what I was going to bring up. If you just bring out a piece of gear, it will inspire him so much that he’ll almost think of a whole other section of a song.Īny examples? It sounds like you guys did some kind of pitch-shifting on the vocal on “Holding On.” He knows every piece of gear, what everything does, like it’s his favorite thing. Shawn Everett: He’s obsessed about recording way more than I am. “I think it’s where my brain naturally sits,” he explains. Everett balanced the old-timey quality of his surroundings with an interest in futuristic technology, so it’s easy to see why albums he engineers often have a sound that feels “classic” while also seeming new. “People would show up with their cars and want to get their gas,” he recalls. His father was a longtime drummer with a love of all things antique, so much so that the family lived in a converted 1950s gas station by the side of a road for a time. The 34-year-old grew up in small-town Alberta, Canada. Though he often works with the songwriter and producer Blake Mills, a longtime collaborator, Everett has projects on the way alongside everyone from Foxygen’s Jonathan Rado to indie-savvy pop maestro Ariel Rechtshaid. He seems to be having a particularly strong run this year, engineering some of 2017’s most anticipated albums, from Perfume Genius’ No Shape to the War on Drugs’ A Deeper Understanding to Grizzly Bear’s Painted Ruins, among others. Besides Sound & Color, Everett’s past credits include some combination of producing, engineering, and mixing (or all of the above) for Weezer, John Legend, Broken Social Scene, Julian Casablancas, Lucius, the Growlers, Jesca Hoop, and more.
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