The man sitting across from us in the rumpled Greg Norman golf pullover, BluBlocker-style prescription sunglasses and thrift shop alligator finish loafers is an indie rock icon.

A stupid term, we know, but apt nonetheless for someone like J. Mascis. As he sits there flanked by his band, occasionally sniffling and scratching his head, it's impossible not to let the mythology of this man do a number on you.

Starting when most bands on today's college charts were gumming strained carrots, Mascis and his band, Dinosaur Jr., have been attributed with introducing lead guitar to indie-rock, pioneering the art of feedback and spearheading alternative rock's commercial breakthrough. And that's just the first page of the resume.

After a career of benchmark albums (thirteen in all), critical deification and a stint on Lollapalooza's main stage, Dinosaur Jr. has made an indelible mark on American music.

Mascis is notorious for keeping the pockets of label moneymen brimming with Tagamet by adhering more to his own vision than to buying trends. His last album, a solo acoustic work called Martin & Me, was received apathetically in the marketplace and disappointed many craving the meaty chops Dinosaur Jr. has become known for.

With their new album, Hand It Over, Dinosaur Jr. delivers on its legacy by turning out the band's best album since Green Mind. Rife with menacing beats and unique arrangements (including flute and trumpet parts on "Never Bought It" and "I'm Insane" respectively), Hand It Over is one of their most diverse efforts to date. They are truly back in the fold.

The band has had more line changes than a hockey match, but the current formation (J. on guitar and vocals, Mike Johnson on bass and George Berz on drums) seems to have hit its stride. Reports from the road have been glowing. Dinosaur Jr. is famous for short sets but this tour has seen them playing marathon shows, pulling out some long-ignored gems like "Puke & Cry." The band seems to feel more comfortable playing with each other, and their live shows have benefited from it.

"It's like the only thing to do. Everything else on tour is intense boredom, so once you get onstage you're like, whoa! I'm psyched to rock! We used to get a lot of complaints," says bassist Mike Johnson.

"A lot of people have said it's the best show we've played in a long time," says Mascis.

It's clear that the debate between the beauty of ripping out compact sets and the generous art of over-feeding fans with extended shows is a hot topic, and one Dinosaur Jr. seems to have come to grips with.

"Screaming Trees have always been one of my favorite live acts and they never play more than a half an hour," Johnson says.

"With us, people used to be like, 'fuck, it's over?' Which is better than, 'God, I wish it they'd stop!'" interjects talkative drummer, George Berz. "I've been to shows like that where it would have been a great if they would have cut it in half."

"I'm usually like that after two songs," J. croaks.

This exchange is typical of Dinosaur Jr.'s personality. Mascis as stoic as a Swede. He speaks very little and when he does, its usually bookended by more animated remarks by his bandmates. He participates in the conversation through nods, smirks and high-pitched laughs. He chooses his comments carefully and seems a bit more interview savvy than his cohorts -- you can't be misquoted if you don't say anything.

Dinosaur Jr. has always done a good job of controlling it's image -- limited press, cutting edge albums and well crafted tours. Their support acts have been meticulously selected, but this go around is a bit different. The band has been mismatched with poppier acts in order to ensure sold-out crowds -- something that hasn't been a problem until now.

When asked how much control they have over their opening acts, J. quickly replies, "None!"

Johnson qualifies the remark, "No, we have some control. A lot of our friend's bands have broken up, so were kind of at a loss. Other bands we've toured with so much that..."

"Kyuss broke up, so we didn't know what to do," cuts in Berz. "They were like my favorite band in America."

A possible reason for Dinosaur's predicament is poor label support. Reprise has undergone some massive restructuring in the past year, and many feel that some bands have suffered for it. It becomes clear that the band feels that this is true when asked about their current tour.

"The tour would be going good if people knew we had a record," Johnson replies slyly.

"It seems like Reprise is in a little bit of trouble, the record just isn't getting the push," comments Berz. "People are coming and they're into it, but if the label was into it, (crowds) would be at least double."

While Mascis is appropriately silent on this subject, there are other things that can get him going. His gear for instance.

Mascis is a technical savant and talks proudly about his equipment. Somewhat of a loner, Mascis records portions of his album solo at his house in Amherst, Massachussets, which is filled with musical gadgetry. "I have equipment that I just bought to record, I just put it in a room downstairs. I did most of the record there. Although I can't mix at home," explains Mascis. His music acts as his voice, so his equipment is profoundly important to him.

"We discovered that the drums sound better in my house," continues Mascis.

Berz agrees, "The snare sounds better at your house -- it definitely comes through on the record." Dinosaur's snare sound is one of the most consistent sounds on all of Dinosaur's albums. Mascis laughs when this is mentioned, "I've had the same drum head (my) whole career!"

"It's true!" Johnson exclaims.

As talk turns to the stuff that helps these guys make noise, the pace of conversation picks up considerably. J.'s ears perk up when his rig is mentioned.

"Dig my rig," quips Mascis.

"He's got a nice rack (laughter)," chime in Johnson and Berz.

"The rack has undergone some changes," says Mascis. "I got a white '69 Marshall head, a Bradshaw unit with some different pedals. It's awesome. I've had it for a while -- just added the new pedals."

Mascis also owns a collection of pristine vintage guitars that he rotates constantly throughout his live set. His guitar tech is continually sprinting to-and-fro during the show to ensure that the proper guitar is available. We asked if he had added any new guitars to his assortment.

"One new Jazzmaster '59..."

"Do you have the one with the matching blue headstock out with you?" asks Berz.

"Yeah. That one's cool. It's kind of my underdog that I've been, like, 'this guitar is pretty hot.' Now I'm kind of into it. I bought it because I wanted one with a matching blue headstock. It's the only one that plays in tune and it's got the best whammy bar. Now my sunburst is the worst to me."

Dinosaur Jr.'s sound is characterized by naturally distorted bass lines and mighty drum beats -- a style forged by Mascis himself in recordings (he plays all instruments on albums) and live by original bassist Lou Barlow and drummer Murph. Johnson and Berz have taken that sound and run with it. Johnson has crafted his own unique style and Berz grew up playing with Mascis and understands his style.

"I had a SVT that I was using for bottom end through a rat for distortion," Johnson eagerly explains. "It blew up and we put the other 800 on 15 cabs and it sounded better. I was like, 'this is what I should have done in the first place!'"

"Oh! That's the difference." exclaims Berz.

"Yeah, it's a hot sound," affirms Johnson.

Johnson claims that the "power of rock" led him to the band. "Really, when I moved to Seattle I was sleeping on the floor of a friend of mine that was in The Trees," Johnson recalls. "And Jay was staying there one night and we didn't talk to each other, but we didn't 't bug each other. Jay called and asked if I knew how to play bass."

Berz seems to have a similar affection for his equipment. When asked he is quick to give details about his set up...including its history.

"It's a Ludwig kit -- an old Vista Lite set allegedly form 1970. I got it from some knucklehead guy who was in a Grand Funk Railroad cover band. Six month later he went into the Navy, and they sat in his basement. They were mint." says Berz. "The guy stored them in soft cases next to a hot water heater and it leaked. So the lugs and the rim on the 18 inch floor tom were all rusty, but I had one at home that was cracked, so I took the shit off of that and switched them. I've had that set now for, seven, eight years. (Laughs) Man, weÆre old!"

Inspired by instruments lore, Johnson is not to be outdone, "I've got a Laney bass rig at home. It was supposedly owned by Geezer Butler. It came with a letter of proof. That's why I bought it but it doesn't work. It blows up every time I plug it in."

"A certificate of authentication," Mascis repeats slowly, as if savoring the words.

Berz attempts to seal the deal, "I used to have a Marauder that was owned by Paul Stanley. It had a melt mark from the flash pods and shit."

Berz has been in bands involving Mascis since their high school days in western Massachusetts. Mascis produced an album for Berz's band, Gobblehoof, in the early 90s. According to Berz, they share a lot of the same influences.

"Jay and I are into the same drummers and for the most part, the same music," explains Berz.

"They have a lot of the same catalog of licks," interjects Johnson.

"This time I had the album long enough in advance, that I had time to learn the exact fills (laughs). Just for the hell of it." says Berz. "I've never done that before, but it was a challenge. Jay's style is a little different, so I feel like I'm increasing the scope of what I can offer if I learn his style."

"George was going to play on more songs (on the record), But I wrote a lot of new parts, so it just didn't work out," says Mascis.

Mascis is a notorious autocrat in the studio, so the natural question is how much of a stickler Mascis is about Berz playing his drum parts.

"Not as much as he was about (former drummer) Murph," says Johnson.

When asked about why they never play their classic "Green Mind" on tour, Mascis makes no bones about it.

"We should try it now. But before, there was no way Murph could have played it," says Mascis. "He just couldn't do certain things that George and I can do. He's just not that funky."

Berz elaborates, "Anything like poppy, groove stuff he has trouble with." However, it's clear that there is no animosity between the band and their former drummer. "He's playing now with the Lemonheads and he's playing better than he has in years," says Mascis. "He's our biggest fan, man."

Aside from Mascis' work with Dinosaur Jr. and as a soloist, he has been in demand as a producer. Mascis is one of the few artists around that has defined a sound of his own and stuck with it. Subsequently, bands like Buffalo Tom, Firehose and the Breeders have come to him to glean some of that knowledge. Although a pretty enviable and profitable position to be in, Mascis detests it.

"I hate it. The last thing I did was the Breeders. I pretty much gave it up."

Mike remembers the event. "didn't you just leave the studio?"

"Yeah, but I told them that I was going to do it," replies Mascis. "I had it set up where I just had to work on certain days and for certain hours. I just can't deal. She (Kim Deal) would like to record 11 p.m. through to 2:00 p.m. the next afternoon. So I would just leave." Mascis shakes his head. "I just don't like it. I mainly just did it to help-out friends. I have no tolerance."

"I like your method for the Gobblehoof record!" remarks Berz. "J. said that if the guitarist (Kurt Fedora) came into the control room, he would just erase the tapes and leave!"

Mascis explains, "I wouldn't let the guitarist come to the mix, because I knew that would be the only way people could deal. It would just be torturing everyone for no apparent reason." Apparently this guitarist left quite and impression on the band.

Berz elaborates, "Have you ever met anyone who reeks of negativity? A guy who was on the scene when several people died. He was at the Viper Room the night that River Phoenix died." Everyone laughs.

"I'm serious!" Berz continues. "I think he's the guy that hooked him up actually. He was with another friend of mine the night he died...He was with Thiel (Valdena) the night he died...he was the guy handing him beers!"

"Or what about the Gobblehoof show that the building blew up?" asks Mascis.

"Oh, yeah! at Uconn," remembers Berz. "It knocked out the basketball game. Big East basketball....zzzzzt!"

Mascis tries to make the point clear. "You know how some people just have this horrible aura...that was him."

If the interview is any indication of their creative process, it must be a pretty collaborative affair. All questions are answered almost in unison. But, when it comes to Mascis stream of consciousness style of songwriting, he is alone in the answer.

"Some of the worst (songs) were written this way (stream of consciousness). When I'm singing something really stupid, but I can't think of anything else," Mascis explains. "A lot of the lyrics are written by me observing someone else. Maybe something like 15 percent would be me and the rest is other people talking to me, or other people talking to each other."

"Observations on misery," says Mascis in an overly dramatic tone.

It doesn't take long for the others to get their two cents in. "When I first got the tape of "Alone" (a decidedly melancholy song), I remember hanging out with my girl friend and we plopped it in and we all just started laughing," says Berz. "If you could see his house and where he lived and stuff. It's so perfect!" Johnson sings the wavering opening to the song and everyone laughs. Berz adds a final remark, "It's a stroke of genius if you ask me."

Whatever the method, Dinosaur Jr. is still in search of another hit. Where You Been came the closest with "Start ChoppinÆ," but when asked if they would be able to deal with everything that comes along with a top ten hit, Mascis appeared to have given it some thought. "Sure, I'm ready. I wouldn't think about the consequences until afterward."

"You just want something that people think is good," Berz states. "I don't think anyone here is into an adulation trip or anything. I play drums. If I was playing to more people why wouldn't that be cool?"

Johnson interjects to make a final point, "Make no mistake, we think were better than most bands." Everyone laughs.

BRANDON BARBER and DAN FANELLI