Stu McLamb, who made The Love Language before the band of the same name existed, talks about the process and the product.

INDEPENDENT WEEKLY: What was the most challenging aspect of finishing The Love Language?

STU MCLAMB: Probably the last song I was working on, “Providence.” I was laying down the last background vocals, and my digital 8-track I was using crashed. I was 10 seconds from the end of the song, and the memory card maxed out. I was freaking out, almost in tears. I got it working again but had to re-record the end of the song on another track and piece it together. It’s actually not that noticeable, but it was such a pain in the ass. I didn’t have a computer at the time, so I went to a public library and downloaded music editing software on one of theirs and finished it there. Support your public libraries.

What has been the most rewarding aspect of finishing The Love Language, be it musical or through opportunities it’s afforded your band?

Really both. It’s great to see an album I made so privately and D.I.Y. connect with so many people, and obviously it’s created many opportunities for the band that have drastically changed my life for the better.

If you could change one thing about the record, what would it be?

Mixing “Nocturne” on broken headphones. Tambourine solo!!!! Actually, there’s tons of “wrong” sounding things on this record, but I think that’s part of the charm. I wouldn’t change a thing. It is what it is.

And what’s something about the record you find interesting that no one’s pointed out? That I still haven’t gotten an endorsement from BOSS. Hee hee.

Try to limit yourself to one answer: What’s your favorite local album of 2009, other than the one you made?

Floating Action’s Floating Action