![]() ![]() And sometimes it's immediate and sometimes I have to play around with stuff for a while.” But in general I just react to what they give me. “And there’s probably some John Frusciante/Chili Peppers in the right hand, and a very Adrian Belew, kind of skronky, weedy guitar tone, especially in that last section. I started playing around with that and I was making myself laugh, because I was thinking about songs like Some Like It Hot by The Power Station, or Hot Hot Hot by Buster Poindexter. It has Lace Sensor pickups and it sounds great. Polonsky: “I used this old Strat that I had built out of Warmoth parts when I was a teenager. ![]() Jonny, how did you compose your parts on the song? Instead of just playing minor chords my entire career, I wanted to try to play a major chord and put this fucked-up lyric on it and make it sound dark.” And musically, I like how the lyric is treated in a really happy, goofy way in the chorus. I don't give a fuck if people like it or not. I feel obligated to make music that has something to say. You should never talk about what's up in the world.’ But you could just look at it simply by just going, ‘There's people that don't have healthcare. Then lyrically, the idea of capitalism, I mean, that’s at the root of everything, right? And look, I get a lot of shit, like, ‘Oh dude, you're a rock star. That opening beat is kind of a signature Mathias thing. How did that one come together?Ĭommerford: “The song is built off the drum beat. The one 7D7D song we’ve heard so far is Capitalism. But it’s musical and it works and it just makes me and Mathias sound way better. And it’s always some weird shit that I would've never thought of. That is an obligation Tim CommerfordĬommerford: “When we send a track to Jonny, it always comes back in, like, a day. There's people that don't have healthcare. And what's the point of doing something unless it's gonna be something new?” That’s one of the great things about playing with different people – it brings out different aspects of your personality. And that’s cool to me, because I really love players like Duane Denison from the Jesus Lizard, Keith Levene from Public Image Ltd., John McGeoch, James Honeyman-Scott, all these different guitar players that have never really come out my playing before, but that this music brings out of me. ![]() It’s more like these independent entities trying to coexist at the same time. “And the thing is, there’s never any standard riffs or strumming, like the Ramones or something like that. “So typically, they’d send a track, and how it would go is that for the first 10 or 15 minutes, I'm just like, ‘What is this?’ Then I'll start playing along and just messing around and then eventually I'll latch onto something that sounds like it's working. I love a lot of different kinds of music and I've played with a lot of different kinds of people, but this was super-challenging, in the best way. Polonsky: “Whenever I would get music from them, it would have everything there – bass, drums and lead vocal – which was really interesting. Jonny, how did you approach the guitars in 7D7D? (Image credit: Astrida Valigorsky/Getty Images) I got exposed to Jonny as a guitarist and I was just like, ‘This is like jamming with Hendrix.’ Or as close as I'm gonna get to jam with someone who can play like that, at least.” “Later on, after Audioslave, we went through a period where me and Brad and Jonny jammed together in a band we called Big Nose. “And I remember being in the studio with everyone, working hard on arrangements and trying to nail everything down, and then taking a lunch break and going into the control room… and Jonny Polonsky was in there playing the entire arrangement, on the piano, with the vocal melody and everything. Rick had signed him to his label, and he was very young. My first encounter with Jonny was when I was with Audioslave and he was an assistant in the studio when we were working with Rick Rubin. I got exposed to Jonny as a guitarist and I was just like, ‘This is like jamming with Hendrix.’ Tim CommerfordĬommerford: “Jonny Polonsky is like a human jukebox. In my career as a musician, there's only been a couple people that I would put in the category of a Jonny Polonsky.” Then we had been looking for guitar players, and I just went, ‘Jonny Polonsky’. “And when we write a song, Mathias and I do the whole thing – bassline, drum beat, lead vocal and backing vocals. I love the freshness of what he's doing, and it's really easy for me to go into the studio, pull up one of his beats, trip out on it and create songs. He's very syncopated, and almost electronic. He's a punk drummer, but he's got like a very jazzy kind of feel as well. Tim Commerford: “Mathias and I have been playing for many years, and I love playing with him.
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