Strange Little Birds is Garbage’s second album off their own label, STUNVOLUME. “It’s getting back to that beginner’s headspace.” In part, she says, that’s a result of not having anyone to answer to. “To me, this record, funnily enough, has the most to do with the first record than any of the previous records,” she says. Some will hear echoes of Garbage’s 1995 debut album in Strange Little Birds - including Manson herself. “There’s a lot of the teenagers that we were in this record.” “When you’re a teenager, you’re in a basement somewhere with your band, and you don’t know what you’re doing,” says Marker. But Garbage - long known for their meticulously crafted blend of dark, industrial noise, sci-fi pop melodies, whirlwind guitar, and tricked-out rhythms - was going back-to-basics for the first time. It was a fitting launching pad for an album that, over the course of the next two and a half years, would see the band finding a way forward by looking backward, tapping into the spark of their youths to try an uninhibited back-to-basics approach. So it’s got a bit of a trashy vibe to it.” “My home studio is just a room where I watch Packers games,” says Vig.
The basement was Vig’s, perhaps one of the least elaborate home studios a multi-platinum producer has ever had.
It began where so many bands first do: in a basement. Except the recording didn’t begin in a studio, per se. In the spring of 2013, the members of Garbage - Shirley Manson, Steve Marker, Duke Erikson and Butch Vig - gathered in Los Angeles to start work on their sixth studio album.
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