A Conversation With Eric Schroeder About “Cat’s Game”
Q: “Cat’s Game” marks a shift toward a rawer, more electric sound—what drew you to this direction, and how did it differ from your earlier work like Turned On the Stereo?
A: It’s nothing different, Cat’s Game is my sixth album and there’s plenty of back catalogue stuff that basically sounds like this record. Just more lo-fi. I don’t think you can consider Turned On The Stereo my earlier work.
Q: You described a period of creative impasse before writing this album. What finally broke that block for you, and how did writing a song a day help shape the record’s tone?
A: I switched from booze to speed and then I was off to the races.
Q: The album was produced by Rob Schnapf, known for working with legends like Elliot Smith and Beck. What was it like collaborating with him, and how did he influence the final sound?
A: Rob is everything one could possibly be in a recording studio. He is an absolute force.
Q: “Emily,” “Don’t Wanna Let You Go,” and “Leave Me Sleeping” are emotionally charged tracks. Were there specific personal experiences behind those songs that you felt ready to confront this time around?
A: All of my songs are about direct personal experience whether that’s expressed literally or not. And I’m always ready to confront personal experience, that kind of shit doesn’t scare me. The question implies that I didn’t confront personal experiences on the last five albums, I’d recommend that people listen to those lyrics a little harder.
Q: You’ve said this album was meant to simulate the energy of your live shows. How important is that live feel to your writing and recording process?
A: Well, it wasn’t really meant to simulate anything. Maybe what I was trying to say was that it was influenced by the way I sound with a band which really just means me playing electric guitar which I rarely do live. The live feel has nothing to do with writing for me but also everything. If I can’t play a song live on an acoustic guitar and still get the essence of the song across, then it’s probably a shit song. That goes for everybody’s music. At least when it comes to rock-n-roll. But also, I really don’t care for playing live.
Q: There’s a strong sense of confidence and urgency on Cat’s Game. What were you trying to prove—or perhaps let go of—through this record?
A: Everything is urgent, only so much time. I write too much for how fleeting time seems to be. And confidence? I’m the least confident person. Again, I’d say you should listen to the lyrics a little harder. And I’m not trying to let go of anything or prove anything, I’m just talking about my life. Expressing something doesn’t mean letting go of something, believe me.
Q: The trio setup with Matt Scheussler, Jake Richter, and Aidan Finn sounds tight and purposeful. How did those dynamics come together in the studio?
A: I’m basically terrible as a musician so I just have other people who are better than me play the things I can’t or should not play. And then Rob makes me sound better than I really am when I do end up playing something like lead guitar. Too many people think they’re better than they really are when it comes to actually playing instruments and they let ego get in the way when they decide they should drum or they should play bass. Then your music sounds worse than it really is. Stick to what you’re good at and let other talent come in and do what they’re good at. It’s pretty intuitive if your head isn’t up your own ass, or in my case, not too far up your own ass.
Q: There’s a quote from Pascal in the press materials about man’s inability to sit quietly alone. How does that idea relate to your experience with solitude and the songwriting process on this album?
A: Pascal, Pascal… hm… never heard of him. Keep in mind that the people who write these press things are not the artist themselves. That’s just some guy I’ve never met quoting a guy I’ve never read. I’ve noticed the more I read my press, the more I realize it’s all one big game of telephone. Again, listen to the lyrics and everything I want to say is there.
Q: Your lyrics often walk the line between poetic and raw, with vivid lines like “I long to be where the colors tease.” What’s your process for shaping lyrics that feel both emotionally sharp and artistically resonant?
A: No process. Straight off the dome and out onto the page. Read the way you want to write. Read a lot, write a lot. That’s the only way to execute at your fullest potential.
Q: If you could describe Cat’s Game in one word or feeling—something that captures its essence for someone who hasn’t heard it yet—what would it be, and why?
A: Album
