From the beginning, The Dig have been a classic band's band, and a true collaboration: three longtime friends, three songwriters, two singers in a true dual frontman setup, all individuals but all woven more and more tightly together as they have evolved. In a world that rewards drama, reckless moves and often-overwrought narrative twists, The Dig have bucked that trend by focusing on, well, the work: writing song after song to cast off more than they keep, and keep only the best. The Dig do a lot, and they do it the right way — building brick by brick, writing constantly, touring steadily, and most crucially, pushing themselves creatively to make better and better records. Which brings us, of course, to Bloodshot Tokyo, a record rich with ambition and a bright, irresistible ease.
"In the past I think we've tried to create a mindset of writing 'for The Dig'", says guitarist/keyboard playing Erick Eiser, "so as to create something cohesive. This time I think we really freed ourselves from that, and just wrote." They made the most of their interconnectedness as a way to push themselves forward, writing what singer and bassist Emile Mosseri describes as "elaborate demos" for most of the songs. Arrangements were fully worked out, ideas were explored and re-explored before they sat down to record. Emile continues, "It's not hard to write songs separately, but there's a thing that happens where I'll sometimes have the other guys in my head, even when I'm writing by myself. So in a way, we're kind of always writing together even when we're writing alone. We all grew up playing in different bands together since we were little kids, and have toured with and were inspired by all kinds of different bands for years. I feel like writing this record was the sum of all those years. It's the most wide spanning stylistically and colorful of our records, and also sounds the most like us."
The result is a tremendously confident record, and one that's far punchier than its predec