ADAM: Transatlanticism was released on Super Audio. I wasn't able to attend the listening party and am sort of out of my depth when it comes to audiophilia, but how big of a leap is there in "listening experience" when you're listening to SA? Is it worth checking into for the casually obsessive music fan, or is there be a better format on the horizon?
CHRIS: There isn't a better format on the horizon, that's for sure. I'm honestly a little tired of trying to explain the SACD's merits in text, because it's very, very difficult to do without getting into a bunch of math that no one (myself included) understands. I can say, however, that I can't tell the difference between the SACD and our master tapes, whereas the CD is a much smashier and grainier representation thereof. I do wish the SACD would catch on.
ADAM: The title track of Transatlanticism was featured prominently in a recent episode of Six Feet Under. Is it important to admire the various entities that license your music, or would that just be poor business? Or too idealistic?
CHRIS: I've never even seen Six Feet Under, but I hear it's good. In fact, I don't even have a TV, so I have to trust what other people tell me about the shows or movies we're licensing our music to. It's important to respect your work enough to be selective about what happens in that world, though, or you end up totally overexposed.
ADAM: You guys were on the bill for Coachella. This leads to the questions we always ask: if the world ended and Ticketmaster put you in charge of the bill for the festival in Heaven, who'd be brought on board?
CHRIS: The Traveling Wilburys, because you'd get both Roy Orbison and George Harrison back. That's all I could ever ask for, I think. George was the antidote to Paul, and since his death, I find my toxicology reports coming back less and less satisfactory.
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