African cult masks plus Belgian suit types are not exactly what one understands by a "natural symbiosis". But why strive for natural symbiosis when you can create your own?! And so on the cover of the new Triggerfinger album you can see a head sculpture inspired by African masks: "Colossus". Artist Victor Robyn formed them from clay, photographed them, then Photoshop came into play.
A striking analogy to the creation process of the corresponding album. Because the being - so to speak the raw clay doll - already formed trigger fingers during extensive demo sessions in the home studio. But the character only formed in Santa Monica, about 9000 kilometres away: "Often it was the case that we were dependent on the sound how we play in a piece," reports front suit Ruben Block. "David [Boucher], the sound engineer, has influenced the album significantly. We had ideas for the sound, but it was always looking for new, interesting recording possibilities. Once we decided on one, there was no turning back. One thing then triggered the next. That's how you get a song with a face."
One of the engineer's favourite toys is an old tape recorder from the US company Wollensak, which even inspired the band to a song: the instrumental "Wollensak Walk". "David used it for handclap recordings because of its distorted sound," says drummer Mario Goossens, who parked most of the time near the device. "It appears in several places on the album," Block adds. "Especially on Wollensak Walk, my whistle came over it."
Where David Boucher indulges in his micro-games these days, one is usually not far away: producer legend and ex-husband of Suzanne Vega, Mitchell Froom. For years the two have formed a team, and Triggerfinger deliberately chose him...