Get Well Friends: Pedro Has a Bump!

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I think I'm pretty easy going about certain stuff like that, so I just to try to understand where they're coming from and ask questions. When it became clear that they wanted movement from me that they weren't going to get in terms of my opinion or for me to sort of have a change of thinking or to give them a reason like go to church service or theological reason why I thought it was OK for me to curse and talk about sex, I just tried to say that we should agree to disagree and figure out something else to talk about.


On that tour there was a handful of people that definitely left mad. I think this songwriting on Achilles Heel is maybe my best songwriting or the songwriting that has yielded the most songs that I continue to want to play over the years. That's a record that I feel like the songs came into focus more after the record came out and we got on the road. I also think both TW Walsh and I were disappointed that we weren't able to get closer to something that had sort of a little bit of transcendent value.

In another way, we might think that the album was just a little half-baked. We asked Jade Tree at that time if we could bump the release date back so that we could have another month to do it, but at that time their schedule was so tight that it wasn't just going to be a matter of a couple of months, but it was going to push the next window, which would have been six to eight months. The record really got compromised by our lack of ability to take a little bit more time with it, especially given how we both feel about the majority of those songs. There's two or three that I don't care for now but because of how much we like those songs, I just just really wish that we would have gotten to have that thing be fully realized.

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I think it would have been clearly the best Pedro record if we had been allowed to do that. They're sonically more dynamic and cohesive without being connected by an overarching narrative. It's true. Also, Achilles Heel was a reaction to touring Control. I realized at that time that I had turned Pedro the Lion into an emo band and I really didn't mean to do that.

Achilles Heel was a response to that in the sense that where it would have been really natural to go further in that reaction, I just wanted to turn around and see something more organic and less pretentious. I wanted to start with a blank slate and let things emerge. TW Walsh, who joined Pedro the Lion in , was a big part of that record.

How did collaborating with him shape the final product? It was awesome. I had written almost all the songs by the time that he joined up full-time. He had moved out from Boston in August of and then we started to work on it in September, and on and off throughout the fall. I had written almost all the tunes by then, although we did co-write a couple of songs together, and "Start Without Me" was totally his song.

But just having another person in there who's a really brilliant engineer, really capable of being sort of that computer operator editor person, great drummer, bass player, and guitar player was great. Later, I realized that it was dysfunctional in a way and he really felt—and I agree with him—that we didn't have our first truly satisfying collaboration until Curse Your Branches. We really enjoyed the division of labor on Branches and the way that it worked out. And I just am not a real clear-cut division of labor kind of person.

If I'm the boss, I just feel like, "There are various jobs that need to happen and we're all good at everything so let's just see what falls into place," in my ignorance of how humans work or whatever. That's kind of how I did it and I think that it was really uncomfortable for everybody.

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But I really enjoyed having Walsh and I couldn't have made that record without him. He basically came in when I had lost the plot and the confidence to sort of say, "Hey, motherfuckers, I need a month to make this record. Everybody get out of here so I can figure out what this thing is and then we'll reconvene. He came in at a time when the days were numbered, I think. I was becoming more and more of a drunk. It wasn't that I was an asshole but I just was less and less able to figure it out, and less and less able to effectively solve the variety of problems that face a person who's trying to do that job.

It was the most unself-conscious I've ever been while making a record. After years and years of doing this, when I went back and remastered all the records for a vinyl reissue in , I realized that it's the most sophisticated record by far because I didn't try to consciously make a choice about every little thing.

I also didn't even know how to do that at that point. I made something that was beyond my capacity to understand every little aspect of the record. I just I did it with such an open heart, it was just really pure and that's hard to do. I was only able to do it because I was ignorant. I hadn't been hurt and I hadn't been out in the world and I hadn't known what was possible. I can hear the freedom and experimentation and naivety in the album that amounted to, 'Well, why can't you do that?

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Why wouldn't you do that? What's fascinating to me about you picking this record is that you've changed so much in the 18 years since this has been out. There is the question of like, "Oh, his most Christian record maybe is the favorite? That category is just some need of bullshit. There's a set of ideas that I was wrestling with and trying to get to the bottom of. Every single record is doing that to the same degree, relative to where I was at in my brain. It's me doing the exact same project.

Pedro Has a Bump!

There are some of the songs that I can't play now because those lyrics coming out of my mouth would just be like a false confession. But that doesn't mean I don't still love those songs.

Brand New!. Seller Inventory VIB More information about this seller Contact this seller 4. Item added to your basket View basket. Proceed to Basket. View basket. Continue shopping. Title: pedro bump. Results 1 - 4 of 4. United Kingdom. Search Within These Results:. One of my constants has been visiting the Place des Vosges. For three years I actually lived on the Place, though not with a view of it. How many times have I walked it?

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Every season; every day of the week; every hour of the day; every weather, rain and shine and snow; every mood of mine, sadness and joy, worry and gratitude. How many shots? Not an unreasonable estimate. The walks are. Also meditations. And explorations, voyages into outer and inner space. The Place des Vosges is, of course, a wonderful square in a wonderful city. But I believe that the meditations and explorations that it affords me could happen anywhere else: in public transportation, in other parks, in my own home, in an airplane, in any city, in any environment.

This is partly because the canvas is extremely rich and detailed; partly because the Place is always changing under the changing skies; and partly because my field of perception keeps expanding. We tend to conflate two events: 1 I saw something beautiful; 2 I saw something to which I was previously blind; my field of perception expanded; I found freedom and release.

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This passage, which happens totally inside our own brains by which I mean eyes, brains, hearts, and souls , is the most beautiful of all things. The mystically minded will understand that this is a conversion or epiphany.

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Frontiers and passages are everywhere. We cross them a thousand times a day. The threshold requires your attention. Your home is packed with liminal territories and their delineations, which are sometimes clear, sometimes vague.