But this time around it was just inescapable. That’s what I use my other band, Hesitation Wounds, for. I usually try to keep politics not so into this band it never felt like the appropriate outlet. On the album’s somber closer, “A Forecast,” you mention losing family members “not to cancer but the GOP.” How much of the country’s political climate made it onto this record? It all ended up culminating in my favorite record we’ve ever done. He’s a wild man - I’d never say he’s not - but it’s because he wants the realest shit possible. … He works you really hard, but it’s coming from a place of love and excitement. I’ve followed his whole career, from Sepultura and the first Slipknot record onto Glassjaw and At The Drive-In. He was the first producer I remember even knowing a name of. He’s the only producer other than Rick Rubin, when it comes to aggressive music, who has his own folklore. What was it like working with a legendary hard-rock producer like Ross Robinson, who carries a reputation for being so intense in the studio? But that morning he sent back a screenshot of eight lines of lyrics and was like “Hey, do you mind if I try these?” and I was like “Dude, of course!” It completely rearranged the song and made that ending so big and beautiful. So I sent Andy the demo of it, and he responded saying “Oh, those are my kind of chords.” My idea originally was for him to sing some pretty “oohs” and “ohs,” not expecting him to sing any lyrics. “Limelight” was the first song we wrote for Lament back in end of 2018, and in the back of my mind I knew the song needed something to make it go somewhere else. We’d always talked about doing some sort of split seven-inch together, but timing never lined up. How’d you land Andy Hull of Manchester Orchestra for that epic featured vocal? I’d rather go live in the mountains with my loved ones and my dogs and live a quiet life than have to go to anymore goddamn parties. But the whole outro with “let’s embrace the twilight while burning out the limelight” - it’s like, I know what’s important. As for “Limelight,” that song has a few different themes running through it. I made everything about the grief and sadness, and that was always hard to navigate. I didn’t fully understand that for a long time. You’re allowed to have good days and see the good in bad situations too.
You don’t have to be anything that you’re not feeling inside. I think the message I try to get across is it’s OK to not be OK. I just looked at the album as an opportunity to deal with it.Įspecially with the lead single “Limelight,” it feels like listeners may find more catharsis on this record. I never sought any sort of grief counseling. But writing Stage Four was necessary for my own well-being.
The biggest thing I struggle with is the guilt of it, where I do feel guilty that I don’t engage more with it. In person, I’m always willing to listen and be polite, give my condolences, but unfortunately I try to change the subject as quickly as I can. What’s it like being tasked with absorbing so much of other people’s pain and tragedy? On the positive side, it gave me a deeper appreciation for the people in my life that have been there for me and kept me sane. SPIN: How does Lament work as a follow-up to Stage Four, which was so singularly focused?īolm: I look at this record as kind of a companion piece to Stage Four in the way that there’s no more songs about my mom’s passing but it’s more about my life since releasing that record and what it has done for me positively and negatively. The singer spoke to SPIN about the album’s origins, the future of DIY shows and the passing of his pal Riley Gale. “It allowed me to have more freedom.”īolstered by storied metal producer Ross Robinson ( Korn, Slipknot), Lament may be Touché Amoré’s most polished, comprehensive effort yet.
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“I had to sort of re-educate myself on how to approach an album not being so specific,” Bolm says. 9, follows a 2019 re-recording of their 2009 breakthrough, …To the Beat of a Dead Horse, and is the band’s first non-concept album in nearly a decade. The aftermath of Bolm’s personal tragedy fuels the post-hardcore outfit’s new LP, Lament - a punishing waltz of heartache and hope encased in the band’s patently incendiary rendering. It’s a way to get the wind knocked out of me on a daily basis.” “I just don’t have it in me to respond,” Bolm says. Also Read 109 Musicians Predict the 2022 Baseball Season
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