Vincent Scarpa, interviewing Juliana for Performer Mag:

VS: It’s interesting to see this record and Pussycat as bookends of the Trump era, though of course they’re so much more than that, and about more than that. (I’ve long argued for the political nature of all your music, whether it be front and center or a more covert kind of personal politics.) Were you still feeling some of the rage we talked about when we spoke together in promoting Pussycat? How had your outlook changed, if at all, as we approached the end of the Trump presidency and entered the present one, into which this album is being released? A song like “Nightmary,” in which you describe “hour after hour bombarded by lies / it’s a desecration of your mind,” seems to testify to some lingering — and certainly justified — rage.

JH: The album is definitely inspired by the last four years and all of the ugliness and all of the dirt that floated to the surface. Now it’s all out there, floating around. All the rocks that have been overturned, all the scum that floated to the top. And now we’re living with it, and we have to deal with it — or not. I’m really glad that there’s new leadership, but I don’t feel like that solves anything, really. Well, it solves one big problem, right? But most of the bad guys still need to be punished. And the songs “Chunks” and “Had a Dream” are about that; about wanting those guys to be punished. And that still has to happen. There’s a lot of unfinished business, and ongoing corruption and lies and murder and greed. It’s not ending because we have a new president.

I think this album is my most misanthropic album of all of them. I’m not kind to my own self on this record. I think I came out of the past four years with this feeling that it’s more clear to me than ever that people are not going to leave this world a better place. People can’t be trusted to do the right thing. People are selfish. Humanity, as a whole, is going to ruin this world. It’s happening. And we can try to do the right things, we can try to change, but ultimately you have to contend with the fact that people are selfish and we’re on kind of a downward spiral. We can make little fixes, elect different presidents, but it’s a Band-Aid on a deep wound.

performermag.com/new-music-and-video/interviews-and-features/mouthful-of-blood-an-interview-with-juliana-hatfield/

Vincent Scarpa, interviewing Juliana for Performer Mag:

VS: Was there something about these songs, this project, that led you to make that decision? Did it feel necessary in some way to be in control in any and all ways possible?

JH: Partly it was just the urgency of the songs, the urgency of how I was feeling at the time. I wanted the songs to feel urgent and timely by the time the record was done. I thought, “Kellyanne might be fired soon!” [Laughs.] And if I do everything, I don’t have to negotiate with anyone about what I like or what I don’t like. I had a very strong, clear vision. And I’d just done some gigs with The Blake Babies playing bass, so I was feeling like my bass chops were kind of lubed up. It was quick, it was economical. Twelve days, recorded and mixed. And I’m so happy with the sound of it. With some of my older records, when I go back and listen to them, I’m disappointed in the sound. But I feel like I finally nailed it on this one. I was very particular. I was very clear with the engineer about exactly what I wanted. And I think cutting out a lot of people in the studio made me more able to have confidence in my vision. When there are other people around, I tend to listen to their opinions. Which isn’t to say their opinions aren’t great—they often are—but I think your vision can be muddied or diffused by other people. Being in there by myself, I was able to really tune in very closely to the process of hearing what I was hearing in my head and then getting that on tape. It feels good. I have doubts about a lot of things, and I’m worried about people misinterpreting it—all of that stuff—but I am proud of this record.

The Juliana Hatfield Three are featured in the March 2015 edition of Performer Magazine. The article by Vincent Scarpa reveals this nugget about the origin of one of Whatever, My Love's (and Wild Animals') tracks:

"Push Pin," the album's most infectious song, was written by Hatfield for a possible Lemonheads reunion album a few years prior, to be produced by Ryan Adams (a project that never came to fruition).

There's a digital version of the print edition which can be viewed here.

Update - There's now an easier to read conventional web page version of the interview - http://performermag.com/the-juliana-hatfield-three-returns-the-performer-interview/