Idiot Pilot - “Fangs, Everybody!”

How Idiot Pilot whipped Wolves into shape.

Say what you will about the supposed trappings of being on a major label. One thing’s for certain, though: Money talks, enough to allow a truly unique band like Idiot Pilot (think atmospheric, anthemic rock brushed up against skittering IDM beats and the occasional post-hardcore scream) opportunities they wouldn’t normally have on a DIY-or-die label. Like the chance to choose one’s dream producer. Or have them choose you. As it turns out, Ross Robinson–the former “godfather of nue metal” responsible for landmark LPs such as Korn’s self-titled debut and Sepultura’s Roots–messaged Idiot Pilot on MySpace before Reprise Records had a chance to pass on their demo and a possible deal.

“The timing of it and the fact that he contacted us on his own was so weird that we almost had to do it,” says multi-instrumentalist Daniel Anderson. “The record was really a struggle to make, though.”

That’s what happens when you work in different cities and studios with personalities as varied as ex-Blink-182 goofball Mark Hoppus (he’s credited as a co-producer) and the decidedly intense Robinson.

“With Ross, if the singer is not near tears, he won’t accept the take,” explains Anderson. “Every song fits into Ross’ definition of ‘mental surgery.’”

That may be the case, but Robinson wasn’t the only strong personality shaping the duo’s second album, Wolves. Here’s a rundown of all the key players, along with Anderson’s running commentary.

Daniel Anderson guitar, programming, keyboards, vocals

I worked on most of the songs at my house, especially the demos. In general, the personal filter of how I want a song to sound is the instrument I start with. Like, if I want to make a piano song, I’ll do the piano first, or if I want a more electronic song, I’ll do the drum programming first. It doesn’t always end up that way, but it’s always good to start by picking your instrument.

Michael Harris vocals, guitar, bass

I always hoped that he’d do more instrumentation, so Michael really stepped up to the plate on this one. (Harris only did vocals on the band’s 2004 debut, Strange We Should Meet Here.) The environment at Ross’ was more conducive to us being around all the time, so it was easier for him to have an idea and just play it. Our writing style is more like a collage than drawing a picture together, you know? We go back and forth with large chunks; we work separately, but collaborate. Almost like the Postal Service, only we happen to live in the same city.

Ross Robinson primary producer

When I was younger, Ross was the only producer that I knew. And as I progressed musically, he did as well. Like when I was listening to At the Drive-In, he was producing it. Or the Blood Brothers–Burn, Piano Island, Burn was such a phenomenal album.

We had actually heard a lot of the [Ross Robinson horror] stories, and I’ve got to say, they’re actually true. I mean, I still talk to him all the time and I’d love to work with him again, but I can definitely understand how some bands could be put off by him.

Mark Hoppus (+44, ex-Blink 182) co-producer

Regardless of what you think of Blink-182 or his other projects, Mark’s ability as a pop arranger and songwriter is undeniable. Blink-182 is the epitome of what pop-punk should be. The last record they did before they broke up was amazing.

Mark’s schedule only allowed us to go down to his studio in Burbank a week before Ross’ and do pre-production there. We talked about arrangements and basically took notes. All of the suggestions he made–especially the ones we used–really shaped the songs.

Travis Barker (+44, ex-Blink-182) guest drums

Travis did his drums at Mark’s studio while we were working on other songs. He actually played on three tracks, including “Cruel World Enterprise”–we pulled his parts when it became more of an electronic song–and a b-side (”Mercury”) where he plays drums along with Chris Pennie. It’s very acoustic, with a piano, accordion and two organic drum sets, so it didn’t mesh with what we did. That’s a direction we’d love to head in, though.

Chris Pennie (Coheed and Cambria, ex-Dillinger Escape Plan) drums on all tracks but “Elephant”

(Dillinger producer) Steve Evetts introduced us to Chris. When he was first suggested, I knew he’d be great because of Dillinger’s music, but I was worried that he wouldn’t be into what we do. Chris loves all kinds of music, though. He’s one of those musicians I identify with, in that he recognizes music as a craft in general.

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