A few years ago Caleb Groh, Chad Wahlbrink, and I did the bulk of drum tracking for Ocelot. We tracked most of it in our living room (Chad and I were roommates at the time), and the operation was very relaxed. We tried all kinds of things that were very strange; I recorded a voice memo on my phone while sitting on it during a drum take for "Smokey Mountain Angel (of Doom)" and we mixed that in with the other drum mics, I set up my toms backwards, we set up ASC tube traps around the kit (that was actually a really good idea). I really love it when the environment / vibe / mood in a recording setting is very open. We were not efficient at all, but we had a ton of fun, and our playful approach led to some really creative ideas that I'm proud of. I know Caleb approached the entire record that way, and teamed up with Chad - the great encourager - they are a dynamite duo for creativity in the studio.
Ocelot just came out today and I love it. I don't listen to things I record on very often, but this will probably be spinning in my car for a while.