STARPOLISH: Debates over song-writing credits and choice of material frequently causes bands to implode despite talent, ambition, and success. How does Garbage avoid this common pitfall?

VIG: It's real simple. The day Shirley decided to work with Duke, Steve and myself, we laid down the law: everything is going to be divided equally among us, regardless of who brings in a song or who produces a track. Bands always bicker over money, politics and egos -- I've seen it from both ends as a producer and a musician. Unless your band is a dictatorship, this is a proven way to survive and keep the music healthy. At any given time, one of us may have more input, yet all our names go on the songs. We've always wanted Garbage to be about the band as a whole, not individuals. Everybody has to be on the same page. It takes humility and teamwork from the start.

STARPOLISH: Home recording has revolutionized the music industry. Should musicians develop engineering skills?

VIG: From a job point of view, it's a good idea. Life as a working musician is not guaranteed, and the more you know, the longer you'll survive in this business. From an artistic point of view, every musician should know about the recording process; knowledge is a powerful tool. If you're well versed when you enter a studio, it makes the music go smoother, especially if you have a particular vision of what you're attempting to achieve. By being cognizant of the tools of recording, you allow yourself additional flexibility -- plus you save yourself time and expenses, which you can invest into other important aspects of your career such as promotion, equipment, and rehearsal time.

STARPOLISH: What should a new artist look for in a producer?

VIG: I'm a firm believer in finding someone that will help you achieve your personal goals, not someone who will impose his or her opinions on what you should be or sound like. There are so many ways a producer can approach a record. For example, pop artists like *NSync or Britney hire outside producers, arrangers and songwriters -- as a result, they have a very manufactured corporate sound and image. Maybe some people can hear a "Butch Vig" sound -- I'm not objective about it. When I was working with artists like the Smashing Pumpkins or Nirvana, I felt that it was far more important to capture their organic sound rather than force them to bend to my personal taste. And those records had a tremendous impact on pop music. My strongest piece of advice is to never allow a producer to strip you of your identity.

STARPOLISH: A good producer is a musicologist, psychologist and a cheerleader. How did you get started?

VIG: My career as a producer came out of my experience as an engineer. I was always obsessed with sound. As a musician, I wanted the tracks to feel right -- that's still the most important thing to me. The rhythms, guitars and vocals all have to mesh. It's up to the producer to make the call whether to push the song or pull back. As I learned more about the techniques of recording, I became more performance obsessed. I realized that performance is all about psychology. Either a producer has to make the artist feel comfortable, or kick them in the ass. I have to figure what works with each artist. Though I still worry about sound and can obsess over an arrangement, it's taken a back seat to ensuring that I'm connecting with the artist. A producer has to get the best possible performance out whomever they're working with.

STARPOLISH: Shirley writes the lyrics and has the daunting task of presenting her ideas to the rest of the band. This is a common plight of singers in a band -- how does Garbage temper this process?

VIG: Fortunately, we all share a certain sensibility. I'm amazed at Shirley's lyrics; Steve, Duke and I totally relate to them. She writes from a personal and voyeuristic perspective, and the content of the songs is universal. The listener can interpret Shirley’s lyrics in a number of different ways -- and that's a good thing in a song. Just look at how the Beatles wrote lyrics. You don't want to hit someone over the head and make the lyrics too literal. She really embraces that, especially on our new record.

STARPOLISH: In your opinion, how did Shirley hone her craft as a lyricist?

VIG: Confidence is a big part of it. And practice, especially after all the shows we've done. Shirley really blossomed on Beautiful Garbage. That comes from experience. You can't do it over night

STARPOLISH: Did the band ever sit down and try to knock out a hit?

VIG: Not really. As fascinated as we are by what you can achieve in a recording studio, all of us are really into crafting a song with strong melodies and lyrics all the time. To us, each song and each album is important. We never look at an album as a few good songs and filler.

STARPOLISH: How did Shirley overcome being the only girl in the band?

VIG: When she first joined us she was intimidated. Steve, Duke and I enjoyed a natural chemistry because we had worked together previously. But in reality, we were terrified of her! She's feisty, emotional, and opinionated. We're like oil and water. It's combustible at points, but that's one of the reasons we sound different from other bands. If you can capture the energy of conflict, it can work to your advantage. The Who are a good example of that.

STARPOLISH: The new Garbage record embraces a myriad of classic pop influences. Is it okay for an artist to appropriate styles from other artists and genres?

VIG: I've found that one of the things that turn people on is drawing from the past while putting a different spin on the present. It's okay to borrow influences, regardless [whether] it's a guitar riff, drum beat or an electronic sample. When our band started, people had preconceptions because of my past with Nirvana and Sonic Youth. The media thought Garbage was going to be a noisy grunge band. We blend lots of different musical styles and make no bones about it. We're a guilty pleasure for a lot of people because we write songs and hooks and make them obvious. We're not trying to be trendy or blaze any new trails. And you don't have to. As long as the public likes your songs, you'll always have a career.

STARPOLISH: Did you study music formally?

VIG: I took piano lessons, and I played drums along to records when I was a kid. Later on I studied music at the University of Wisconsin, which is where I went to film school. I also enrolled in four semesters of electronic music courses. Back then, I was working with big old Moog and Arp synthesizers, which had no keyboards, so I learned how to make sounds in unconventional ways. Any way or anywhere you can accrue knowledge is important.

STARPOLISH: With the prevalence of file swapping and downloading, are we seeing the death of the album? If so, how will this affect new artists?

VIG: Unfortunately, our culture is moving further into the "quick fix" mode. Today, the music business is all about instant stardom. Artists are enduring hard times having a career -- it's all about the big single, chart position, and maxing out the money in the shortest period of time. Kids who are young now are going to perceive the culture in this manner when they grow older, and that will affect how they approach music. I think the next generation is going to be less inclined to buy an album of 12 songs when they can just download a single cut. Their music library will consist one hundred different songs by one hundred different artists. Having no body of work for an audience to relate to is a dangerous thing for any emerging artist, and I think it's going to be harder for bands to find an audience in the future. The odds are getting stacked against us.

STARPOLISH: Is building an audience through live performances still the best way to beat those odds?

VIG: Yes - it's the only way, despite all the advances in technology; touring and playing live still works. People will always love seeing bands live, because it's a communal vibe. Watching a band on television and experiencing them in the flesh are two totally different experiences. We have a huge fan base because we play live as much as we can. We always joked about becoming an international band, and because we've dedicated ourselves to live performances, it came true.

STARPOLISH: Why is it important for emerging artists to play live as much as possible?

VIG: When people see a new band or artist at an early time in their career, they feel a special bond to them over the longer haul. It's far different than when a new artist debuts on TV, which everyone can access. If the audience loves your music live, they're going to be there for you because they feel that they discovered you. They may not stay forever, but they'll be responsive for a much longer period of time. This is true in any genre of music. And it's a proven fact for bands and artists throughout the history of popular music in the last 50 or so years.

STARPOLISH: Any advice for musicians just starting to hit the road?

VIG: You can't have too much duct tape (laughs). Make sure your equipment works, and that you know how to fix it. The most important thing is to stay healthy --you can burn out real fast. When you're young, part of the thrill is to sleep in the back of the van or to crash on someone's floor and party all night long. But that type of behavior will ultimately [hamper] your progress. Have fun, but take care of your body.

STARPOLISH: How will the current political climate in this country affect music?

VIG: A lot of my friends are looking to music for comfort. For me, it's been the music of Bob Dylan and U2, which really seems to resonate in times like these. I've heard arguments that people will be drawn to music that has human qualities and connects on an emotional level. Then there's the opinion that people will want to escape reality with vapid bubble-gum [music]. I guess either side has a valid point, but I think music with substance will prevail. That's what I look for in music.

STARPOLISH: In addition to the music, Garbage's commercial success comes through your videos and the group's unique image. What's the importance between what people hear and what people see?

VIG: A strong visual image is music is crucial -- it's the nature of the beast. People want to see you, grab you and hear you, and it's amazingly competitive out there. Even if the music is great, you'll never establish yourself in this business as a performer if the public cannot remember the way you look. We live in a world that is visually oriented.

STARPOLISH: Should musicians align themselves with people involved in film, theater, public relations, and design to assist with image building?

VIG: Absolutely. These days an audience will see the video before they hear a song on the radio, and without promotion and marketing, your music will fall through the cracks.

STARPOLISH: Garage is comprised of older members -- how do you compete with younger acts in a market acclimatized to youth?

VIG: Shirley has a strong presence -- that's one of the big reasons we've had tremendous success. She has a great voice, she looks fantastic in photos and on stage... and she's a loose cannon. She gives crazy interviews, but she's very honest. Trust me, there's never a dull moment with Shirley. Unfortunately, with us being older, it's hard to compete with good-looking 20-year-olds like the Backstreet Boys. But our "odd look" works for us rather than against us. We forge an intriguing image and we work hard on our videos. Plus, we're all fascinated with film, which reaps big benefits artistically and commercially.

STARPOLISH: What artists are inspiring you right now?

VIG: U2. I love their new record. I don't think they realized at the time how relevant their new album would be. We did some shows with them, and it is encouraging and inspiring to see a band that's been around for 20 years sounding better than ever. Bono is like a preacher -- he makes everyone in the arena feel like he is talking directly to them. That's a rare gift, but it's also a goal that every musician should aspire to.

STARPOLISH: From Dylan to Rage Against The Machine, does music still have the power to educate and introduce people to new ideas?

VIG: Definitely. When someone writes a great song, the music has the ability to take you out of the world that your in -- or put you back in it. Music can be an escape, but it can open up your eyes and liberate you and give you a sense of freedom. That's what a great song can do.