Earlier this year we caught up with Leggy, the Cincinnati, Ohio trio who won us over with lo-fi productions of infectious melodies, bubblegum punk and a taste of not giving a fuck.

Almost two years after their inception—and after spending most of 2015 on the road—Leggy’s dream punk creations get sharper and tighter in their new EP, Dang, soon to be released on Manic Static. Check out “Even Lana”  from the up-and-coming EP below, and read about the making of and story behind it.

“Even Lana” is a sneak peek into your third EP, Dang, and your first released by Manic Static. Can you tell us a little bit about what we can expect and how—if at all—it differs from your previous endeavors?

Véronique Allaer: Manic Static is a super awesome label based in Chicago and we are really excited to work with them! “Dang” is my favorite of our stuff so far. The songs were written as a group, compared to the first two EP’s in which I would bring a skeleton of a song to practice and we would finish it. They sound more cohesive as a singular release, probably because we wrote them all in a short span of time. The production aspect is also different. Our pal Sam Cowan recorded us in his basement in the span of a few hours, but the grittier, harsher sound totally fits the darker, faster feel of these songs versus our previous releases.

Kerstin Bladh: Yeah I think everything about the production of “Dang” is different and also best represents Leggy. We recorded it the day that we briefly returned from our west coast tour and almost everything was done in one take. It was a surreal whirlwind. Lately we haven’t stayed in one place for long so it’s only appropriate that we recorded as such.

Christopher Campbell: I think “Dang” does a pretty good job at capturing us in the zone. I’m stoked on the energy and urgency of the recording and feel like it syncs up with the newer jams so well. Most of the songs were written and worked out during pre-show or pre-tour practices and reflect the semi-hectic and kinda stress-tinged fun we were all having.

Tell me a little bit about this song. Why did y’all choose to premier with it and is there any cool back story to it? Who’s Lana?

VA: This is my favorite Leggy song—it just feels great to play and I love the melody. Lana is a reference to a Lana Del Rey lyric which I quote in the song saying, “Even Lana found a man who fit her better then her favorite sweater.” A line of hers I’ve always liked. These are probably the easiest lyrics I’ve written, and probably the only that were all done in one sitting. The song was inspired by the super poignant and harsh feeling you get when you see someone you used to be with out with a new beau. Seeing that can trigger all these feelings of doubt, regret and worry that maybe ending things with them was the wrong move. This song is kinda about setting pride aside, facing that feeling, and admitting that you’ve fucked up.

Would you rather be a famous musician and get paid millions of dollars to perform the same two songs for the rest of your life or be a starving artist and be free to perform whatever you want whenever you want?

VA: How “starving” are we talking? Could we still tour? Would I have candy though? I’m gonna go with the famous musician option. I could tour the same songs over and over as long as I could write and play new music on my spare time—being flown in my private jet, etc.

KB: I am already at the point where, after playing songs from our first EP I’m like, “Okay, I feel you Thom Yorke. I wouldn’t play ‘Creep,’ either.” So, I’ll go with the starving musician.

CC: I think I’d try to go with both, maybe? I know that’s a weak answer but whatever. Like, I think the Neil Young route might be cool. Even when he was touring on like, Weld, Trans, Greendale or Everybody’s Rockin’ or whatever he and the band would still play the hits and do entirely fan-fave based second sets. That, or the My Chemical Romance route. Whatever that would be.

Tell me about the gear you used in this particular song? Does it differ from the rest of the album?

VA: This is our first release in which I recorded using my Telecaster. It sounds beautiful and I adore playing it—definitely brought out the surf-rock in me.

KB: I played the only bass I’ve ever played—my dad’s 1979 P-Bass. Our tones are pretty much consistent across the album, which is partly a result of the nastiness with which it was recorded.