Nina credits producers Gabriel Gonzalez (a former guitarist for Sparta) and Greg Collins (whose production credits include U2 and No Doubt) with helping her dial in her guitar tone.
“Gabe did the foundation of it, but Greg Collins really helped me kind of sort of figure out what my sound is,” says Nina. Tracks such as “Baby Boy,” “Static Mind,” “Pleasure and Pain,” and “Empty Promise” find Diaz dabbling in psychedelic harmonics, phase shifting, and rich distortion effects, embellishing a big, wall-of-guitars sound with a Lollapalooza vibe.
“`Collins is` an awesome producer,” says Phanie. “He kind of opened up our minds into experimenting with different stuff and upped us as musicians.”
“It’s kind of like that part in Clueless where they fix the teacher real quick and make the teacher look cute. Collins also contributed slide-guitar overdubs to some songs.
“And for me, I’m really like, ‘Oh these are my bass lines, don’t touch them, don’t think about it,’” says Alva. “I think he got that vibe from me … He took what I wrote, but then we kind of just thought about pauses, and accents, and stroking, so that was really cool.”
The album ends with a cover of “Ven Cerca” by Los Spitfires, the first song Girl in a Coma has recorded in Spanish
Trio B.C. stretches the band’s already wide-ranging sound much further. Nina’s elastic vocal range enables her to mesmerize on mid-tempo songs and deliver arena-rock intensity on heavier tunes. She also swings a mean ax – still an all-too-rare feat in the male-dominated rock world – alternately complimenting her smooth vocals with melodic, chiming accents and giving them a jagged edge with rapid, angular riffage. Leer más «That’s what he did to us for the album – he took off our glasses,” says Nina»