![]() ![]() I had no jazz knowledge, but I’d learned a little bit of “The Girl From Ipanema” and a few other bossa nova standards, and there are a few things on “Inside Of Love” that hint at that. Josh Rosenfeld (Barsuk co-founder): (Nada Surf manager) Ben Weber sent Barsuk a VHS tape of the video for “Inside Of Love,” and we loved it immediately.Ĭaws: The music was a lot of me sitting on the couch with a Danelectro guitar I bought for $115 from Guitar Center. That made me scared of getting it wrong-but I wanted it so badly. They split when I was pretty young, and I continued to see how it haunted them. My parents’ marriage was unhappy much of the time, and I grew up seeing how difficult it was. who’d pitched us this video for “Inside Of Love,” but we only had a demo version.Ĭaws: The song is based on what I was going through relationship-wise for a few years, or maybe what I sensed I was doomed to go through-either not meeting the right person or not being ready when I finally met the right person. Ira Elliot: I believe it was the first thing we cut, because we’d been approached by these filmmakers at this film school in L.A. Walla: The structure of that song is kind of weird because the verse is the chorus and the chorus is kind of an anti-chorus.Ĭaws: The melody was accidentally lifted a bit from Brian Eno’s “Baby’s On Fire.” I didn’t realize it until a couple of years later. ![]() I trust myself not to really screw up my life, but I don’t trust myself to really nail it. I’m psyched about the next week, but I’m apprehensive about the next month. I’m excited about the rest of the day, but I’m apprehensive about tomorrow. It just felt right.Ĭaws: I’ve always been this kind of depressive personality, but I’m pretty cheerful. We wanted to do something different for this record. So I think that there was some kind of unspoken sense that, if a song came along with just guitar, that it was OK to leave it that way. He’s a supreme guitar geek-a world-class guitar obsessive.Ĭaws: We toured with Elliott Smith in France during The Proximity Effect, and we’d all been so struck by him. That’s why it has a kind of a hushed approach.Ĭhris Walla: Matthew was very, very particular about the balance of the guitars on that song. So I went into the bathroom and did the demo … quietly. ![]() I had these chords, and I wasn’t ready to go to bed. We’d stayed up with some friends, sitting around a fountain and drinking a little bit. Matthew Caws: We were on tour for The Proximity Effect, and I was sharing a hotel room with Daniel in Amsterdam. What follows is a track-by-track assessment of an album that represented a seismic period of transformation for Nada Surf, in the words of Caws and the others closely involved. Nada Surf has since released a half dozen LPs on Barsuk. For everyone involved, however, it was less about hits than creative rejuvenation. in late 2002 by Barsuk Records, the album wasn’t exactly a rousing commercial success, peaking at number 31 on Billboard’s independent-albums chart. Let Go cost about $10,000 to make, a fraction of The Proximity Effect’s $200,000 tab. Three of those songs (“Blizzard Of ’77,” “Killians Red” and “Happy Kid”) were mixed by Death Cab For Cutie’s Chris Walla. The band did more recording with Juan Garcia at the Magic Shop in New York, where Caws had been an intern a few years before. Funding came in the form of the “wrinkled singles and fives” made from a cross-country tour on the way to the West Coast. Most of Let Go was recorded in Los Angeles with Chris Fudurich, engineer for The Proximity Effect sessions. With no deadlines or anyone looking over their shoulders, the three spent long hours in their practice space working through songs and listening to music. The album floundered, and Nada Surf was dropped.įree of Elektra, vocalist/guitarist Matthew Caws, bassist Daniel Lorca and drummer Ira Elliot attempted workaday lives in New York City as they started on the music that would become Let Go. No one at the label could hear a hit single on High/Low’s 1998 follow-up, The Proximity Effect. After its 1996 debut, High/Low, scored the group its only mainstream hit with “Popular,” it wasn’t long before the band’s relationship with Elektra Records began to deteriorate. In the months before recording Let Go, Nada Surf was free enjoy the ultimate luxury: time. ![]()
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