Morale worsened once the sessions commenced, as the band worked long days but could not agree on a musical direction. The Edge had been listening to electronic dance music and to industrial bands like Einstürzende Neubauten, Nine Inch Nails, the Young Gods, and KMFDM. He and Bono advocated new musical directions along these lines. In contrast, Mullen was listening to classic rock acts such as Blind Faith, Cream, and Jimi Hendrix, and he was learning how to "play around the beat". Like Clayton, he was more comfortable with a sound similar to U2's previous work and was resistant to the proposed innovations. Further, the Edge's interest in dance club mixes and drum machines made Mullen feel that his contributions as a drummer were being diminished. Lanois was expecting the "textural and emotional and cinematic U2" of "The Unforgettable Fire" and "The Joshua Tree", and he did not understand the "throwaway, trashy kinds of things" on which Bono and the Edge were working. Compounding the divisions between the two camps was a change in the band's longstanding songwriting relationship; Bono and the Edge were working more closely together, writing material in isolation from the rest of the group.