TORONTO -- JAM! had the opportunity to talk with Tragically Hip frontman and solo artist Gordon Downie.

Downie talks about his second solo effort "Battle Of The Nudes," new Tragically Hip material, the outbreak of SARS in Toronto, and much more.

JAM!: How did you approach the writing and recording process the second time around?

DOWNIE: I think I just played the cards that were dealt to me in a way. I had an opening in time -- I think was waiting for "Coke Machine Glow" to come out and I was looking at 4 or 5 months of kind of sitting around and had more songs and a certain sort of core group emerged out of that "Coke Machine Glow" recording -- tons of people came in -- Travis Good, Kevin Hearn, Jose Contreras. I went into the studio with those guys out on the island (Toronto) and in five days bashed at a lot of things it became the template and foundation for "Battle Of The Nudes" and then kind of put it away while I wrote, recorded and toured "In Violet Light" with The Hip and then came back to the studio in Bath, Ontario ostensibly re-recording and fixing some things and recording some new things and that ten days of recording was the record, really. Ten days spread over two years.

JAM!: There's a certain looseness and fresh sound that eminates from the record. Do you think this has something to do with the band becoming a more cohesive unit?

DOWNIE: Maybe. You're probably hearing the sound of people that enjoy each other's company. We really enjoy being on stage together and we have a lot fun. We know that we are never going to play the songs the same way twice.

JAM!: What was the inspiration behind the first track "Into the Night"?

DOWNIE: It was a dream. The song almost unfolded as is. I guess it's a dream that, from what I hear from my friends, the ubiquitous period of detachment from a child. As a parent, it's a compelling, troubling kind of period -- apparently. In the end of those periods, all you really want to do is talk -- like you did when they were really little. There's this image of them really running, it's night time, and it's a sort of cityscape, an urbanscape, and I just see these kids tearing between two alleyways and me calling out, and them not recognizing my voice.

JAM!:: How do you go about choosing songs for The Hip and songs for your solo records? How do you go about deciphering the two?

DOWNIE: I don't really. I don't have a lot of experience with it, so I can't answer the question. And neither do The Hip. We've been getting together to write every week since January. The music presents itself -- you get a hummable melody and then start putting words on. It's not like I'm coming in with "Paperback Writer" or something and saying 'Well, which project should I dedicate this to?' With The Hip, we get together as a collective, and without ever using that word -- collective -- that's what we are. I think we hold until we get into the same room together because we know that we will be surprised and elated by whatever it is we come up with. We don't spend a lot of time predetermining that. On my solo record, I'm on my own and I'm bashing away at the guitar and trying to do the same thing.

JAM!: You've had quite the busy schedule over the last few years. Do you plan on slowing down or taking a break for awhile?

DOWNIE: Eventually I will. I can't say that I planned it but obviously looking back on the decisions that I made, I don't see that. I could have envisioned a different result than what I'm doing. I guess I knew it would be a hectic three or four years, but there was a few things I wanted to do and it seems as you are doing one thing you're kind of given a hint at what you can do next and based on your schedule, you do it. I live in Toronto, and it's important to me to have a job here.

JAM!: How do you balance your career and your family life?

DOWNIE: The same way anyone does. Ultimately, you cater your work schedule -- you become a different working person. Your work becomes different based on how much time you need to get done what you need to do. You need to get better at it, you need to become more streamlined and more muscular about how you work. I think that's a good thing -- you do that so you can be a more giving present person at home -- which feeds your work as well. To think it doesn't is to think you exist in some other mortality.

JAM!: Tell us a little about the video for "Pascal's Submarine."

DOWNIE: We shot it about three weeks ago in Halifax with Mike Clattenburg (Trailer Park Boys, The Hip's "The Darkest One"). He had an idea for "Pascal's" and really worked on it over time and gathered his resources, people and know-how and we went out to Halifax for four or five days and shot the video in and around these decommissioned subs down in Halifax harbour. The city of Halifax is a big star in the film -- I say film -- it's a little slip, but it is like a little mini-movie.

JAM!: Who designed the album cover and what was the idea behind it?

DOWNIE: A woman named Megan Oldfield designed the whole package and the cover painting is by John Claytor, who also happens to be Julie Doiron's husband. He shows in Toronto a lot at a place called the Ingram gallery. He's really happy about the album art, and that's the main thing.

JAM!: What can fans expect from the upcoming live shows with The Country Of Miracles?

DOWNIE: I think they can expect -- um -- I have no idea (laughs). That's the easiest answer. We have a real good time together. There's really not a setlist or anything like that and we shamble around a bit, and try to have some laughs.

JAM!: Can you give us any details on the new Tragically Hip material?

DOWNIE: Like I mentioned, we've been sort of writing and I think we'll probably plan to record in the fall for an album that would come out in the spring, I guess. The guys are all in a good space, and we're enjoying our time together. I think it was smart to make sure we see each other once a week, even under the auspices of writing -- but really i think it's just to hang out. We have a unique working releationship. We're friends forever and we work together in a partnership that is more than two people. Partnerships with two people are tough. I'm proud of what we do.

JAM!: Was it a given that The Hip would choose to take part in June 21's SARS benefit show in Toronto?

DOWNIE: It came about pretty fast, and they needed to know pretty fast, and we accepted pretty fast. I mean, I live here, and I think about and feel a lot for the city. The health care workers are working their asses off and risking a lot.

JAM!: What do you think about certain artists and events being nixed because of the outbreak?

DOWNIE: It's kind of troubling -- I read today that the NHL Awards are seriously considering moving to Ottawa or New York and I just think, shame on them. There's people that can set an example for arguably the birthplace of hockey. It's a strange thing, because Toronto's not New York, but there is an underlying aspect of Toronto that I'm sure, if you could come up with a character profile of the city, it would be "Well, fuck you than."