English version of an interview from Barcelona GO Mag..
> =======================================================
I will try and get this finished quickly.
I am sorry if I misinterpret the intent of your questions but I do not have time to clarify because of the deadline..I will try to repeat the question back to you as I understand it and then answer as best I can.
> You've been recording and producing bands since 1989,
> it isn't funny that everybody looks at you right now
> as a 'hot producer' as Rolling Stone said?

Q: You've been recording and producing bands since 1989,
isn't it funny that everybody looks at you right now
as a 'hot producer' like Rolling Stone said?

A. I am not sure too many people look at me as a hot producer. Britney has not called in ages! I am surprised that anybody noticed me as a producer at all, but I am glad they did. I have been very fortunate to work with some fantastic bands who are immensely creative and interesting.

> Do you believe that you're achieving the status of a
> Steve Albini? That the records you work on will be
> sought after by your fans not by the group's.

A. I fervently hope that is not the case and that people buy the records because they like the band. It is my worst case scenario that anything I do could overshadow the band. The most important production ethic that I have is to try to give the best presentation possible of the band...wait a minute, I sound just like Steve Albini!

> Do you have more alumni now in your sound class?
I do not understand this question.

> It seems to me that your using this moment of 'glory'
> to promote small bands that you like, like Wheat or
> Home, which have received very good reviews here in
> Europe.

A. These are bands that I would and will work with under any circumstances, in fact I expect both Wheat and Home back this year and could not be happier. But if anything, I thought that my momentary popularity stood to damage their careers where they could be dismissed as more kooky Dave Fridmann projects.

> Aren't you afraid that bands that are only looking for
> a hype began to knock at your door? Is there already
> any 'suspicious' offer that you hadn't accepted?

A. The likelihood of a band who's music I like being combined with that thought pattern is very small. Besides that I think they have very little to be gained by working with me for that purpose. I am not exactly known as a "hit maker".

> Can we say that your 'celebrity' as producer stars as
> you began working on your own studio, without time or
> money restrictions?
Q. Can we say that your celebrity as a producer starts as you began working in your own studio, without time or money constraints?

A. Part 1. The only chance of me attaining celebrity status where I live would be if I worked with Tim McGraw or Korn. Usually when I tell people who I have worked with they usually look at me with pity in their eyes and wonder how I will feed my family.

Part 2. Since becoming a partner in a recording studio, I have come under more time and money constraints than I ever believed possible. Being a part-owner of a recording studio has been a huge responsibility and financial burden. I knew this would be the case, but I wanted to work near home so that I could be with my family. Although this is true, I would agree that working in such a consistently excellent environment has helped both me and the groups I've worked with to make some very good records.

> Since then you left the band. Why? Is there any
> possibility of your coming back? Was production what
> you always wanted to do?

A. I actually ceased being a touring member of Mercury Rev in 1993. I enjoyed playing very much but I have always wanted to do a lot of other things as well. For me producing and engineering is a lot more fun because you get to participate with many more people and styles of music than if you are in just one band. I do not think that I will ever be a touring member of Mercury Rev again, although I still play with and record the group in the studio.

> The boom of the 'Dave Fridmann touch' begans with
> 'Deserters Songs' and 'The Soft Bulletin', which are
> the most revered records of two bands with a long
> history. Don't you think that that sound change of
> those bands is more related with their personal
> changes (internal crisis, leaving of founder members)
> that in your work as producer? For example, after
> 'Deserter Songs' it was said that the band was about
> to split when they retired to the Catskills Mountains
> an decided to go on. Is your studio in the Catskills?

A. No, the studio is not in the Catskills. I think I can say with no humility that Mercury Rev, The Flaming Lips and I have all grown together over the last ten years as we have continued to do work together. Whereas the personal experiences of the songwriters are reflected in the songs, I believe the production reflects an ongoing incestuous relationship between all of us. The production of these two records has less to do with the personal changes of the people involved than with our growth in production abilities. Having a ton of gear helps too.

> I did the review of 'The Soft Bulletin' for a
> important magazine in Spain and, as a long-time fan of
> the band, I said that it was a good record but that it
> would be ironic that the would make it big with their
> more 'chilled' album. At the end of the year it was
> voted 'Album of the Year' by the rest of the critics
> who were not fans of the band until that moment.
> Which are your favorite albums (produced by you)?
It's a bit like asking "who's your favorite child?" I love them all equally but sometimes it's painful to see the reflection of yourself, especially the weak parts.
> Which are your all-time favorite producers?
Jonathon Donahue, Wayne Coyne, Rivers Cuomo, Mark Linkous, Teo Maceo
> Which band are you working with right now?
Sparklehorse, Ed Harcourt, Mercury Rev, Gemma Hayes

> Can you tell as something about the new Mogwai album?
> Is it true that it is called 'The more expensive post-
> rock album ever'? Have your fares something to do with
> that (joke)?

I can tell you that I love it. I can tell you that it's short. I can tell you that it's not the most expensive post-rock record ever made. I can tell you that there's singing. I can tell you that you will like it.

> I see in your web page that you have worked with Dot
> Allison, which is an artist with a more electronic
> edge. How was to work with her? Are you interested in
> electronic music?

I am interested in music. I am not interested in genres. I am not interested in pigeon holes. Dot Allison is really good and I hope that I get to continue working with her.
> Is there any band that you would like to work with
> (Grandaddy, Spiritualized, Godspeed You Black
> Emperor!)? And from past times?

I am mostly interested in working with bands that are interested in working with me. I don't worry about searching out particular groups. I have always worked based upon word-of-mouth references and hopefully will continue to do so.
> This interview will go into a report about the out-
> rock scene with interviews with Godspeed and Flaming
> Lips. What is your say about that 'scene'?

I am very unaware of "the scene". Living where I live and doing what I do, I am simply aware of an astonishing amount of great music. The magazine world perception of "a scene" is a very unreal idea to me. I wish it was unreal to everyone because I don't think it serves any positive purpose to have "a scene". The only purpose it serves to me is to suppress creativity.

> I see that you have recorded the Sparklehorse record.
> Through last year it was rumored that it would be
> recorded in Barcelona by John Parish and that PJ
> Harvey was involved.

I did not record the entire Sparklehorse record. I recorded and mixed some of it. PJ Harvey and John Parish did record with Sparklehorse in Barcelona last year for this record and we mixed a lot of that material here in the states.

> I read that you want to work with comedian Adam
> Sandler. Why?

He's fucking funny. I am not sure I can work with him because I may pee my pants laughing.

I hope this gets to you in time and that it is helpful. Thank you for the opportunity to chime in.


Ps please send a copy when you are done.