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She didn’t deserve to have any of that thrown at her. I’m used to the internet and all the shit-talking, but she’s not. “Yeah, it really brought a lot of anger in me. It must have been difficult for your girlfriend to be targeted online just for being with you. I was up in Seattle when I was writing that song and I literally wrote it in four hours at a coffee shop, and that’s the kind of stuff I like to write about.” That’s our career, that’s what we do, it hit us so close to home. When the Paris attacks happened, I think it hit the world like a ton of bricks, and it hit musicians in a different way. I was just thinking about how much it was weighing heavy on my mind, and that’s the kind of stuff I like to put down on paper. “I wasn’t really thinking in that direction. Did you want to bring these issues to the attention of your fan base? There’s a song about the Paris terrorist attacks ( Circles) and one about your girlfriend being trolled on the internet ( Floral and Fading). I didn’t wanna just put out a record that was just a bunch of made-up stuff.” I wanted it to mean something really deep to me. The owner came to her place two weeks later to clean it and was like, ‘Oh Vic, you’re so clean it’s like you’re not even here!’ Lots of things happened, I was just searching for stories. Then there was one I’d rented for about a month, but I only stayed in it for one night because I finished the record. I did become friends with one of the guys, he had a really cool place that I was at for a few weeks, and I ended up finishing a couple songs in his living room. “No, but you know, sometimes you don’t even meet the person. I got a good chunk of the album done there.”
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It was such an exciting place, full of energy and creativity. On any given day I’d see Snoop Dogg, Ziggy Marley, ZZ Top, Weezer… Snoop Dogg had loads of bodyguards around him and lots of weed going on, he was pretty untouchable. It’s basically a big building with five or six studios within it, and constantly, amazing rad artists were coming in and out.
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It’s where Fleetwood Mac built a studio to write one of their albums, and they rent it out to other artists. “One of the big things was that I had a really rad opportunity to work at a studio called The Village in Santa Monica.
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What did you see on the road that helped you find your inspiration? I took a cheap plane ticket up there on my own to finish the last two songs and it was a really exciting experience.”
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I ended up writing the last two songs in Seattle. I decided to travel around, live in different cities, in different houses and AirBnBs, it all inspired me in different ways. Then I went on a journey to try and find other lyrics, because I felt I wasn’t going to make them in that studio. So rather than keep pushing and trying to finish it all at once, we broke it up by doing some touring in the middle, which was sort of unorthodox. We ended up being in the studio for a few months, and by the time we got to vocals, I was ready to get out of there, I’d been in the studio for too long. We wanted to do a lot of work on the drums and guitars, better than anything we’ve ever done. We booked three months of recording time, and we wanted to make one of the best sounding rock albums. What took Misadventures so long to come together? It’s been four years since you last released an album.