Tracy Bonham’s new album, “Down Here,” has been four years in the making. Her sound is a response to the softer side of rock by women who keep things soft.

Not a fan of “cock rock” either, Bonham looks for the middle ground but still likes her music to have balls.

Bonham speaks from her new tour bus on her way between New York City’s Mercury Lounge and the 9:30 club in Washington, D.C.

As an artist, what is it that drives you? Are you racked by guilt or insecurity?

Oh, all of the above. Also rebellion and confusion and things that I need to figure out. I go to my journal and figure out what I need to.

The new record has a lot of maturity to it, both vocally and musically. What were some of your influences going into the recording process?

When I got off the road for the first record, I hated rock and roll. I was burnt out, and I was noticing there were so many cookie-cutter bands that sounded the same that I couldn’t listen to the radio. I didn’t like my music any more — I played it so much I was sick of it, so I started listening to loungy cocktail music and classical. That’s where my background is, and I think that altered the way I wrote music at that time.

There are so many artists out there that sound alike. How do you try to distinguish yourself from the pack? What makes you stand out?

I hope people even notice this stuff. The violin helps. I try to keep my writing different. If I write something and I think I sound like somebody else, I’ll change it even if I might like it. I don’t like it when bands go into the studio and say “I want to sound just like U2” or “Let’s make it sound like Pearl Jam.” You have to be yourself; you have to find your own voice.

Does that ever lead to dead ends or is it always an opportunity when you have to change like that?

It’s always an opportunity. It’s like a canvas. There are endless things you can do.

What would you say is more important to you, commercial success or artistic achievement?

Ultimately, that is more important to me.

Artistic achievement?

Yeah. I moved to New York and I’m kind of close to the music business now, and their goals are not necessarily my goals. It’s easy to get swept up, though, and kind of adopt the philosophy of “I’ve got to make it big or nothing at all.” You get really brainwashed.

You haven’t always been completely in line with other women in rock. How do you see rock changing in terms of female artists and how do you fit into that now?

How do I feel about other women?

You made some comments a few years back about the state of women in rock, you called it “sissy rock” …

Did I say “sissy rock?”

I hope so, because …

I hope I did, too. That’s cool.

How do you think things had changed since about three or four years ago with women in rock?

It’s changed drastically; I’m baffled, actually. Radio stations that were loving me four years ago won’t even return my calls now, basically. They’re only playing Kid Rock and Limp Bizkit and all that stuff now.

So four years ago we were looking at a softer side of rock that looked like it wasn’t going to end, and now it’s gotten so hard it’s …

Yeah, it’s really hard. I mean, “cock rock” is back in full force.

It seems like a strange turn around.

Doesn’t it seem like it’s all or nothing?

What is the story behind “Every Good Woman”?

It’s me having fun taking the piss out of everybody. I just thought for a day it would be really funny if everybody traded places.

Where are you going after this album?

I can’t answer that. You have no idea how well it’s going or where it’s gonna go. Right now it’s kind of uphill in the States. It’s doing really well in Australia, and in Europe they’re all excited about it. My barometer is completely out of whack; I just have no idea.

Is this something you’d like to do forever?

Yes and no. After my last world tour I was really concerned if I could ever do it again. I wasn’t sure if I had the energy, but now I’ve had to sit on my couch for the last two years and wait, so I’m ready to go again. It’s so cyclical, and I’m getting older. I’d like to start a family one of these days. So I don’t know.

How is life on the road being married to your drummer?

The bunk issue was really interesting. This morning we got on our tour bus for the first time, and we were trying to decide if we were going to share a bunk or take separate bunks or take the back lounge. I though if we take separate bunks, does it mean we’re not in love any more? So we had to reassure each other that it’s OK if we take separate bunks. We’ll have to be creative.

What do you do when you’re on the road? There must be as much down time as there is stage time; how do you fill the time?

Read. We’ve got a DVD player.

What kind of movies get into your music?

My favorite director is Wim Wenders; his early movies have influenced my life and my lyric writing. There was a theme in “The City of Lost Children” that I almost ripped off. I love film scores. I think I’ll get into writing film scores or soundtracks.

Is there anybody you really hate who you think is killing music today?

Yeah, this is gonna sound weird, but Howard Stern. I think a lot of cock rock is from that mentality; maybe he’s proud of it. I think he’s a clever guy and maybe a nice guy, but that shit is old. Can you imagine if he actually thought about how what he was saying was affecting people? I think music is also being killed by the industry. I don’t know what next, though. As soon as I predict something, the exact opposite happens. I never thought the Spice Girls were gonna do anything. When I first heard Alanis Morissette, I was like, “Nope, sorry.” So I am actually like the opposite barometer. If I could say, “Yeah, chick rock is gonna come back,” I’d probably be wrong, so I’m afraid to say anything.