Delusions of Grand Fur
| Delusions of Grand Fur | ||||
|---|---|---|---|---|
 |
||||
| Studio album by Rogue Wave | ||||
| Released | April 29, 2016 | |||
| Label | Easy Sound Recording Company | |||
| Rogue Wave chronology | ||||
|
||||
Delusions of Grand Fur is the sixth studio album by Rogue Wave, an American indie rock band based in Oakland, California. It was released on April 29, 2016 through Easy Sound Recording Company.
Rogue Wave frontman Zach Rogue on the process behind Delusions of Grand Fur: "It wasn’t the plan to take three years. My son was born in the middle of our last album cycle, and I wanted to be around to spend time with him, especially his first year because it’s so formative. I didn’t want to travel, and we also wanted to make kind of an unconventional record. There was no demo-ing; we just did everything on the fly. It was a very spontaneous recording process, and we knew that wasn’t really something we could do in a fancy, expensive studio. It just took longer than we thought, and we weren’t in a hurry." Unlike their prior effort Nightingale Floors, which was produced by [John Congleton]], Rogue and Spurgeon wanted to move away from "chas[ing] sounds" and instead "just discover sounds and then your song is done and it's just a moment in time"
The album features Mike Deni of the band Geographer and Sam Hopkins of Caveman. The song "In the Morning" was mixed by former Death Cab for Cutie member Chris Walla.
Zach Rogue described the process of creating the lead single "What Is Left to Solve" as follows: "I wrote it on acoustic guitar and thought it was gonna sound something akin to “Africa” by Toto. But it sounded really boring and lifeless. So Pat started playing a drum machine and I picked up a synth. The living spirit ghost of Gary Numan must have stopped by because everything got dark and minimal and the song finally started to make sense."
Pat Spurgeon, Rogue Wave drummer and recording engineer, detailed his experience recording the songs in the band's Oakland studio: "Zach and I both were going with the songs as they came. We didn't have a specific reference, like a band or an album or anything, but sometimes that would happen as we were going. And that was one of those moments as an engineer where I really was happy. We’d end with a little drum fill, just a snare and kick thing and it ended up reminding me so much of a sound on Paul McCartney's first solo record. That sort of sound would permeate some other songs because once it would start sounding like something, we would just go that direction."
...
Wikipedia