EXPECT IT: May 24 via Borstal Beat
FLOGGING MOLLY are tracking the follow-up to 2008’s Float at Echo Mountain Recording Studio, located in a converted church in Asheville, North Carolina. Recording-wise, the septet and producer RYAN HEWITT occasionally mixed things up on the still-untitled album, which they’re issuing on their own label, Borstal Beat—their first release away from SideOneDummy, their home for the past decade. “[Vocalist/guitarist] DAVE [KING] and I recorded a number of tracks playing acoustic guitar together; it was really a lot of fun,” says guitarist DENNIS CASEY. “Usually, you do things separately in the studio, whereas we both were sitting right next to each other recording our parts together. We also recorded the whole band sitting in a circle playing one song. [There are] no overdubs; everybody [was] just sitting there playing the song—what you hear is what you get.”
The band also took a different approach writing the album: Instead of cramming their creativity into one session, they wrote the songs over the course of several separate sessions. (Each time, however, the band holed up in the basement of the Detroit home King shares with his wife, Flogging Molly fiddler BRIDGET REGAN.) Casey says that the plight of the economically beleaguered Motor City crops up in the album’s lyrical themes. “When the economy tanked, [King] was really moved, and I think it really affected him,” the guitarist says. “This record definitely has the theme of the struggle of life.” He adds later, “The whole element of working for a living, people without jobs, people losing their homes—that all is tied into the narratives of the record.
Casey’s favorite song on the new album, in fact—and one he’s musically proud of—is aligned with those themes. Called “The Power’s Out,” it’s “a real raunchy kind of blues song, but then there’s traditional Irish music mixed in it,” he explains. “And it works so well. I’m really proud of that. It’s one of those things where we kind of pushed our boundaries.” Fans can expect the same sort of genre-busting on the first single (“It’s got a really early ‘60s vibe to it and also has a punk-rock edge to it,” Casey says) and on the album as a whole. “We’ve increased our comfort zone, so to speak, and our circle of sounds,” he notes. “Float seems to be a good album to reference, in that we made Float and then this record is the perfect record you would make after it.” alt