Two days after Philadelphia got buried in nearly two feet of snow in late January, Zachary Devereux Fairbrother, guitarist and singer of Lantern, is dressed for the weather. He walks into a Point Breeze coffee shop suited in a scarf, shin-height galoshes and his hood pulled atop his head. The cold is visibly lingering on him as he peels away the layers of clothing around his face. Emily Robb, Lantern’s bass player and singer, walks in shortly thereafter and performs the same peeling routine.
Lucky for them, neither were hindered much by the blizzard at their west and south Philly homes, respectively.
The snowfall came a little less than a month before the release of their second full-length album, Black Highways and Green Garden Roads. It’s an album recorded in 22 non-sequential days at The Bottle Garden in Montreal, Canada, over a year and a half. Lantern, a blues rock-leaning proto-punk three-piece, made a conscious decision to record the new album a bit differently than they had for 2013’s Rock ‘n’ Roll Rorschach — strictly to analog tape.
“We were working with only eight tracks,” says Fairbrother. “That sort of put an inherent structure on how we would go on with the arrangements and mixing.”
Robb adds as if finishing Fairbrother’s thought, “It kind of locks you in a little more. Working with tape really informs the process because it’s not limitless. If you’re working with Pro Tools you can have as many tracks as you want.”
Recording in this nature forced the band to be more, “ruthless,” as Fairbrother puts it, in what takes they decided would make it onto the album. He likens it to the “paradox of choice” theory, a line of thinking coined by Swarthmore psychology professor Barry Schwartz, in which consumers experience less anxiety when there are fewer choices while shopping. Continue reading →