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Our Lady Peace is hunkered down in producer Arnold Lanni's Arnyard Studios outside Toronto recording the first half of the follow-up to their double-platinum debut. The band is playing with two possible titles -- Propeller and Trapeze -- which would seem to point to a common
theme.

"There is a kind of carnival atmosphere," frontman Raine Maida is saying from the studio recently during a quick break in the sessions.

"I'm not sure how it worked its way in, but a lot of the lyrics I'm writing seem to be set anywhere from the circus to the little carnivals that you see in the Jane and Finch parking lot (in Toronto).

"It's kind of surreal."

Whatever it ends up being called, the band's sophomore effort is being recorded as a pair of separate albums.

"We've split this record up into two different sections," Maida explains. "We're going to do five or six tracks first and finish them, and then move on to the rest of the record. That way we'll get some feedback just from ourselves in terms of what the first five songs sound like, and that'll kind of direct the next five."

The sessions will go on for at least another four weeks, with the band aiming for a September release.

Prior to that, says Maida, Our Lady Peace plans to play a few select summer dates, including Toronto's annual Edgefest bash.

There's also talk of a quick 10-day club tour in August, "maybe even before the new songs are mixed," says Maida. "Maybe we'll go out live and see how they feel."

Meanwhile, the group pops up on the soundtrack to last week's No. 1 movie, The Craft, with a cover of The Beatles' Tomorrow Never Knows  -- though the forthright Maida isn't totally pleased with the results.

"We didn't have a whole lot of time to work on it," he says of the recording, which took place two months ago and was banged out in a day and a half.

"Being honest, I think we fell a little short of the song.

"The producer who was up here (Ralph Sall), he's quite close to the director (Andrew Fleming), and their whole vision was to have something really psychedelic. They wanted it a lot further away from what we heard in our heads. So we compromised. The track in the theatres is a mix that Ralph did. Then I went to L.A. with another man, David Holman, who's done some of the Bush tracks, to have him mix it more in our vein (for the album). We wanted something truer to what we are."