PST: How has the way the vocals are presented on record changed? Does the way that has changed have to do with confidence, or was it always an aesthetic choice?
Cosentino: The vocals are just more present and up front — which has a lot to do with confidence and me just learning how to use my voice in other ways. Singing on stage every night for the last three years has given me the confidence to sing differently, and I wanted that growth to be showcased n this album. I’m a singer — that’s what I’ve always been, and I want people to hear that.
PST: “The Only Place” (download free from Amoeba) to me sounds like what I want to hear when I cross the state line into California. It has a similar vibe to a number of California songs but I think feels more L.A. specific because of its punkier feel, kind of like a fantasy of California mixed with the real thing. What was the goal with that song?
Cosentino: I wanted to write an homage to this place that makes me so happy and relaxed and I wanted to make other people feel the love I have for California. In a way too, I wanted To write a song that would make people be like “whoa wait — California seems awesome.” I’m trying to get the state tourism board to accept it as the new CA anthem!
PST: “Dreaming My Life Away” sounded really cool and different in its earlier version, sort of more overtly melancholy and somber than some other Best Coast songs. How does the new recording change things?
Cosentino: It has a pretty creepy feel to it, almost like David Lynch or something. The original recording had the same sort of feel, I just think the new recording includes a few new elements and sounds better than the first because it’s sonically better and my singing is stronger.
PST: What influences did you tap into on this record that you think are new influences or you didn’t tap into as much before?
Cosentino: I listened to a lot of Fleetwood Mac while making this record, and though they were a band that I loved while recording Crazy For You, I don’t think the influence was very obvious. It might be a bit more on this record. I also just got really inspired by female vocalists, and I used those influences to sing to he best of my abilities.
PST: You stayed as a three-person live band sans bass for a long time but recently switched to a four-piece and worked with orchestral pop maestro Jon Brion. Was that important to keep Best Coast as its original form for as long as you could? How do you think you’ll continue to expand upon what Best Coast means, either live or on record?
Cosentino: We stayed as a three piece because we didn’t have time to add another live member — we literally toured for two years straight, and we knew we wanted a bass player, we just were like — when the fuck are we going to find the time to do this? When we went in to record the new record, we wanted to change it up, and we had the time to put together a new line up and we wanted to have a stronger live show, so we worked on that a lot. The band all always be Bobb and myself — we will never add another permanent members. That’s something we agreed upon from the start.
PST: Speaking of Jon Brion, he certainly makes the list of producers (like Steve Albini, Alan Moulder, Dave Fridman etc.) who really make their presence felt on a record. How did you balance what he brought to the record with your own style?
Cosentino: Jon didn’t want his fingerprint on this record — he didn’t want it to sound like a Jon Brion record — he just wanted to make a Best Coast record with a more sonically enhanced sound, and I think that’s exactly what he did.
PST: Would you consider making us either a list of songs or top 10 albums of your favorite Dad Rock?
"Dust in the Wind" - Kansas (from the album Point of Know Return)