Rock Music: There’s a lot of howling in “Fresh Blood,” which is a really fresh style from you. How did that song come about?
E: That one came very early [in the writing process]. It felt good. It had the feeling you want to have when you’re making a new song, like “Oh, here’s something new.”What was the genesis of that track?
Well, I had an idea for all 12 songs [for Hombre Lobo] in my mind, lyrically and musically – I had in my imagination what I wanted them to resemble. But then the hard part is making that a reality, and it’s never exactly what you pictured, because that’s impossible. But my idea of that one is pretty similar to how it ended up – I wanted to do something that was what I would call dark and spooky. Spooky music is fun. I love to make spooky music sometimes – and then conversely I like to do the opposite and make really bright and sunny music sometimes, too.Just as you wanted to take a break from yourself lyrically on this album, was there any attempt to try musical styles on Hombre Lobo that you hadn’t attempted before?
You’re always looking for ways to push yourself, but you don’t want to do that just for the sake of doing that. You don’t want to make a polka album because you never have. You want to make a polka album if you never have and it’s in you and it needs to come out.You mentioned that a lot of indie rock lacks sexual desire. It also lacks a sense of humor – something that you’re known for in some of your songs. But what’s interesting is that this album feels much more sincere in its emotions. Or am I missing something?
No, I think that’s pretty accurate. One thing that drives me crazy is that quite often I’m pegged for being ironic or being funny in situations where I’m actually not – and vice versa. For the most part, this album is to be taken on the level. To me, there’s funny little moments – you know, that first song [“Prizefighter”] where I say, “Tell me all/Tell Daddy all.” That always makes me laugh. But in general, it’s about a pretty desperate guy, so there’s not too much humor.You’re a songwriter who’s always writing. Are you working on stuff now?
I probably have at least a couple more weeks of just doing [publicity], so there’s no time to do anything artistic. That’s the part that they don’t tell you about when you sign up for Rock School – they don’t tell you that there’s a lot of job-like parts to it. I’m stuck in the day-job part of it right now.That’s something I love about your memoir – you talk about the challenges an independent-minded artist has to deal with in the music business. It’s almost like Rock Boot Camp reading the book. Do people ever come up and thank you for that, or is it just the personal elements of your life in the book that people respond to?
Certainly most of the comments I get are about the more personal aspects. But I do think it’s important to see what it’s really like trying to stick to your guns in the rapidly changing commercial music business. That’s a lesson for us all to take on – on whatever level you can identify with that. You know, you don’t have to be a rock musician to relate that to your life, because it’s about integrity.There’s been no word yet about a tour. Will you be touring for this record?
I’m not sure yet. It’s fairly possible that we could go on tour some time this year. We did three long, long tours [for Blinking Lights and Things the Grandchildren Should Know] – and all very different from each other. It was a lot. I’m not ready to get right back out there right now, but that could change at the drop of a hat.Those tours were very ambitious in terms of their design – you did one with a string section, another included readings from the memoir. Is there pressure about feeling like you have to top yourself with whatever the next tour would look like?
Naw, that’s not what’s stopping me right now. I’m just not feeling it really – I don’t want to disrespect the audience by doing something I’m not fully invested in right now. There’s no lack of inspiration as far as how I would do it – I just don’t feel like doing it at this moment.