Slow Motion Addict

Stolen Car
"I like the opening line, that’s all I had: Treating my body like a stolen car. There have been some real sever
changes in my life recently—in my art and in my life. Moving around, being in limbo for so long, not knowing
what’s going to happen, having to answer to people who actually know what they’re talking about. Lots of
stuff, and kind of being troubled by authority, having to ask yourself a lot of questions. It happens to
everybody when something big happens. I kind of went on a complete self-destructive three month bender.
That’s what Stolen Car is about. The way you justify behaving that way; the way I justified it to myself.
There was a point where I just wanted to jump out a fucking window. Sometimes I think it’s important to
imagine what your life would be like if you had a change that vast, and that violent. Because we fall into so
many patterns, but what would happen if you just fucked everything up. The simple ways we escape,
alcohol, drugs, it makes you feel like you’ve escaped the entrapment, but how free are you really if a day
isn’t over until you feel intoxicated".

How Many Times
That’s exactly it. I wanted it to be a bit bubblegum in a way, but the lyrics are just really nasty. It’s just me
having fun. I set myself a challenge in that song: I’m going to write a pop song that hates everyone.
Because there are some days when I hate everyone."

Gravity Lies
I was coming out of that self-destructive stage. Like: Look where you’re headed, deal with it. I was
watching a documentary about a photographer who shot a video for the Rolling Stones in the 70s that got
locked in a vault. One of the lines—you know sometimes how you listen to something and you hear it
wrong? I heard it is earth gravity lies, and I just wrote the entire song."

Ready to Confess
That’s cool. That’s one of the songs we wrote in five minutes. I was having a talk with Glenn, and he said,
it seems to me you want to express so many things, but you care a bit too much about what people will
say about you. It’s not a weakness to aspire to certain things. To want success is construed to be such a
negative thing. That song is just me saying, ‘whatever you think of me, you’re right, what does it matter?’
Because it doesn’t matter. That song is just me taking off my chastity belt and saying, I’m on fire, and I am
about to explode, I’m a tiny little light beam and I’m about to light up the fucking world, and I’m going to do it
proudly. And all the people trying to bring me down, they don’t mean anything. Throw anything you want at
me, I’ll walk right through it; I’m the 60-Foot Woman. Fuck you, I’m great!"

Take the Money
What do you call them, with the pom-poms? Cheerleaders! At the end the drummer insists on singing ‘ suck
-a- cock- a -cess.’ I think it’s important that people know the record has a sense of humor. I had such a
good time writing that song. I got so much shit from the record company for that one. I thought that was our
single—I thought it was so catchy and so funny

This is where Side Two begins.
That’s about being 5000 miles away from the people I love—that’s the simple part of it. It’s like space
traveling, that’s what I’m doing in that song. I think it’s kind of sexy, that song. I like the laid-backness of it,
the stripped-downness, and that we could fit it on the record. It’s also kind of quirky as well, so it sets the
scene for the more serious stuff to come."

Come to You
I wrote that with a friend who was doing the power ballad thing, so funny, and he loves U2. So we thought
we’d let loose on that big anthemic thing, to really embrace that. I think it’s a nice platform for my voice, in
that big rock sense. I won’t be bullied into submission, and I won’t settle for a really easy linear life, and I
can’t be bothered with someone who’s all talk and no action. But in a way it’s talking to yourself, saying I’m
not going to submit to negative depression; you’ve got to pick yourself up, not wait for someone to do it for
you. You’ve got to try to create some kind of euphoria for yourself in your own brain—and you are capable
of doing that."

Slow Motion Addict
Experimentally, I think that’s the truest to us all as a band. That’s our DNA. Everything else is just an
extension. It starts with drums and vocals so sparsly. Nobody gave a fuck about hooks. When I sing the
lyrics, it’s empowering, because it’s what I am, I don’t have to pretend to be strong or cute or anything else".

January Heart
"That’s essentially what it is. It’s a little message, as simple as that. It’s the ending of something, you’re
always going to love this person but you have to move on. It’s the ending of something wonderful, but it’s
still time to end".

The Disconnection
I love all that electronic shit! I wrote that before I wrote the album The Disconnection, but I just felt that it
wasn’t ready for that album—the song wasn’t ready, it hadn’t grown enough. It was hard to make that one
work in a way, a stubborn little fucker. It works really well when I play it on my own on guitar, but when
someone else tries to play on it it crawls back inside, it could not be expressed if there was too much going
on. We ordered a 16-piece orchestra to play on it, with guitar and drums. And I took it to the studio and I
was just, ‘I don’t like this, the song is drowning.’ So I took it into a little room with my computer and
programmed those beats on it—just these little trickles—and I had to manipulate the strings a little bit. And I
just knew it was working. It was like the light under the door, instead of trying to light up the room. I think it
succeeded, so it’s one of my favorite songs on the album."

The City
The start of it is pavement level, the cold hard ground, but at the end, like you jump off a building and you
start to fly. It’s so joyous. I’m a kite! Just try to bring me down. And that’s what I hope to do every day of my

Same Girlfriend
That song was born out of complete irrational frustration with myself and everyone around me. It was just
me and the band jamming, and it was meant to be a little bit cheesy, like us doing a rhythm and blues song.
I’m coming up with all these horrible lyrics, and I’m getting more and more frustrated, and everybody’s really
tired—but Glenn’s going, ‘This is great! This is the cat’s meow!’ So later I went downstairs with Tom, the
guitarist, and I said to the engineer, ‘Just give me a hand mike.’ He was like ‘oh, no, it’s going to feed back,’
and I’m just like ‘just do it!’ So we had the lights off and Tom started playing the song, and I sang something
completely different from what we’d been working on. And I just sang that song from start to finish, totally
improvised. That’s the PMT song, the pre-menstrual tension song, the female part of me that I try to hide. But
we all are like that, part of us, anyway, just wants to scream. So I did it. And I felt so free afterwards."