Q&A with The 92s

The 92s

We caught up with The 92s frontman Dan Durley just before they release their new EP, For Public Use, on February 19 in Chicago.

Ghost Track: Who did you record the EP with?

Dan Durley: Scott Stewart, he’s a Chicago producer. He moved to L.A. last October. He’s done all of our records besides the Tara Terra split. I started working with him out of the blue when I was 18 before this was a full-band project, then I ended up moving into his apartment and we’re buddies now. So, we don’t make records with anyone else anymore. It’s just him.

GT: How long was the recording process?

DD: We recorded it over six days in (Scott’s) bedroom, which was my bedroom after that for a while, and then mastered it two months later. We’ve been sitting on it for a while now. We wanted to wait awhile before we put it out in Chicago until after we’ve played awhile since we just moved.

GT: How was the process different than when you recorded Television Fuzz?

DD: With Television Fuzz, we did some crowd funding and got a lot of money to record in a studio. We recorded at Pieholden in Ukrainian village. This one we didn’t have a ton of money sitting around for it, so we just went with bedroom recordings. I mean, you could barely tell, because he is an insanely talented dude and he can make stuff out of nothing and anything sound amazing. But also Television Fuzz was live tracked and this one was done very piece-wise, which lends itself to a totally different sounding record. Also, Television Fuzz was a full-length with an easily identified theme. This one was very consciously not thinking about that too hard when we were recording, more like a collection of songs: a four song EP. That’s also why there’s some more sonic experimentation going on than on the full-length; the full-length was just a band in a room, but this one is still minimalist in that there’s not a ton in what we don’t do live but its about the way its produced, like the drum samples. We’re not necessarily doing that live, you know?



GT: Over the years, how has your approach to the recording process changed?

DD: Every single time we’ve made a record, I’ve had a more deliberate idea of what I want to do before I even start. And that’s kind of where I’m at with recording now, which has helped because I’ve started producing other people and I’ve learned a lot from our producer. I’ve sat in on a few of his mixing sessions of our records and just like picking his brain and seeing how he works with Protools. I’m just way more sure about myself before we start the recording process. Like, I just called Scott the other day because I’m also making a solo record with him in the summer, and I’ve been sending him voice memo demos for the past months so when we record I could be like, “You know the songs already, this is how I want it.” I sent him a record that I’ve been listening to a lot and kind of fits the vibe that I’m going for, and I have an idea already. I get way more into the producing part of it. I wouldn’t give myself producing credit, but I just have a way more solid idea of what it’s going to sound like than when I did before.


To read the full interview, find Ghost Track’s print version here for $3:

GT2- cover FINAL



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