Hype can
be a dangerous thing. It can build suspense
and expectations beyond the final product
resulting in a flop. To say that the
build up to Parkway Drive’s third
album, “Deep Blue” which
came our on the 25th of June through
Resist Records has been big would be
underselling it. The anticipation to
see what these Byron Bay titans could
produce after their first two highly
successful albums has been rife. Deborah
Konopnicki had a chat to lead singer
Winston McCall about the anticipation
and build up, crazy Australian fans
in the Europe and just what to expect
with “Deep Blue”. |
| Hey,
Winston. Appreciate your time.
How are you and the boys doing
at the moment?
Good! We’re
halfway through our break which
has been four weeks, so we’re
two weeks though and then we go
on tour for another two months.
We’re basically just sitting
on our hands at the moment until
the record comes out. It’s
weird. Because we didn’t
change the songs in the studio
we kind of know the songs on the
record already which is strange,
so we’ve only just started
mucking around a little bit. We’ve
mainly just been surfing.
Nice one. I’ll just
get stuck into it then. Your first
two albums, “Killing With
A Smile” and “Horizons”
have been two of the biggest metal
and hardcore releases that Australia
has seen in recent times. Did
you at any stage feel the pressure
of trying to create an album that
would match the calibre and popularity
of those two?
Not particularity,
only because we’ve never
really felt pressure in anything
[that] we’ve done just because
we’ve never really expected
to do anything with it. We’ve
just kind of done what we’ve
done and written music that we
like to play and write. If people
like it then they like it! It’s
kind of been the case in the past
as well. We’ve never really
tried to do anything, so it’s
nice that people have liked it.
We’re just keen on doing
that! We had a definite focus
when we wrote this record, because
it’s been three years since
we wrote the last one because
we were so excited to create something
new. It wasn’t so much outside
pressure as it was pressure from
ourselves to try and improve.
Did you have an idea of
what kind of album you wanted
to create before heading into
the studio?
Yeah! We
had all of the songs written before
we actually went in. We wanted
to make an album that was an album
as a whole as opposed to 12 songs
chucked on a disk. We wanted it
to have a flow and a feel that
went through the entire thing
so that all of the songs would
work as a whole together. So,
in the past we have written the
songs before and have them torn
apart in the studio, but this
time around we wrote the whole
album and then sent the songs
off to the producer in the studio
who actually didn’t do anything
to them. It was nice that they
remained in tact.
Did Joe Barresi have much
of an influence? Or from the sound
of things just he just give you
the tick of approval?
Yeah, he
had a massive impact. For starters,
he left the songs which was pretty
insane. He left them the way that
they were written which was really
great. The way that we recorded
with him was a bit more of I guess
an organic recording and there
was a lot less computer cut-and-paste
and mixing kind of thing. We were
just playing the music straight
up and just going with the feel
of things and making sure that
if we wanted it super tight then
it relies on super tight playing
as opposed to technology and him
being able to fix things. He basically
gave us the tools to create something
and said, “Here’s
the gear you have to work with.
We can make this whatever kind
of record you want. If you want
it to be tight, you’re going
to have to play like that to get
the sound [that] you want”.
So, that’s what we did!
How would you say that
“Deep Blue” differs
from the first two albums?
I think
that it has a definite flow to
it. It’s much more of a
varied album when it comes to
the sound . It’s not just
fast and heavy the whole way through
which I think I like a lot more.
It makes each bit stand out a
lot more. It’s the rawest
sound that we have in the sense
that it sounds more human and
less mechanical. You can hear
little variations in the way that
the guitar is played and grasp
the feeling to it as opposed to
a super clinical section that
you get from a more machine based
recording that we’ve done
in the past.
What are some of the
themes that you touch upon with
the lyrics on this album? Was
there anything in particular that
you were keen to portray?
It’s
weird. I wrote the lyrics a long
time ago. I wrote a bunch of lyrics
that followed a story. It was
13 songs that all joined into
one another. It follows that same
way that I’ve always written.
I never target specific problems
with the world or anything like
that, they’re just more
‘human’ songs. They
are things that are definitely
personal to me but at the same
time they’re not just whinging
heartbreak songs. I guess the
closure that’s come from
the recording, the more of me
got poured into them. They’re
kind of desperate and lonely and
kind of dark. That’s the
side of me that generally comes
out in songs.
Would you say that “Deep
Blue” was a concept album
then? Or is it a tad more disjointed
then that?
No, it definitely
is part of a concept. We tried
to put that into the mix of what
we already had. We didn’t
totally restructure the way that
we are as a band or write, we
just tried to put something else
on top and that meant writing
songs that had a complete narrative
from the beginning of the album
to the end of the album. At the
same time, if you had the songs
separately then they still make
sense on their own and still stood
on their own as songs. We just
wanted to try and have a thread
that went all the way through
as well and to just challenge
ourselves and the way that we
wrote music and in the way that
I write lyrics as well. It mixes
up a fair bit.
Are there any songs that
really stand out for you at the
moment?
Yeah, there’s
a few. A song called “Deliver
Me”, a song called “Dead
Weight” and a song called
“Punish The Heartless.”
They’re all, er… ‘nice’.
It’s hard because I do like
all of the songs and I’m
the most attached to these songs
that I have been out of any recording
that we’ve ever done before.
There’s no two songs on
the record that sound alike so
you find yourself liking each
song for a different reason. It
doesn’t translate to the
same reason that you like another
song which is good..
You have a couple of
cameo appearances on this album
with Brett from Bad Religion and
Marshall from The Warriors. What
do you think that they add to
your record?
Personality
and different sounds. Especially
Brett. Brett added punk rock to
a metal band, let’s put
it that way. The influence that
he has had on this band with his
music in the past has been amazing.
To have his collaboration on this
was absolutely wonderful and the
work that he did on the song was
so good. It makes that song for
me. It’s strange. You hear
a lot of bands that, and especially
in our genre that get someone
to help out on a song, and you
can’t tell the difference
between the two vocalists anyway.
They have exactly the same voice.
Marshall has a very distinct voice
and the minute that we wrote the
song and this part his voice popped
into my head. He’s a great
friend of ours and he came in
and did this part that’s
probably my favourite part of
the whole record. It’s kind
of nice. They just added a different
personality to the songs which
is really nice.
While over in the UK
and Europe you debuted “Unrest”.
How were the hardcore fans reacting?
It was really
surprising because it was one
of the best songs on the set that
we played, which was really strange.
I guess that now that we’re
in the You Tube age so many of
the kids knew it after the third
time that we played it because
it was up on You Tube. It received
a really good reaction, which
is also really odd because it’s
only like two minutes long and
one of the most basic songs that
we have. Yeah. It went really
well. It’s just so strange
to have a song played for the
first few times that’s not
recorded and having people sing
a long and know the words. It’s
kind of bizarre.
Have you played any other
new ones since?
That’s
the only on that we’ve played
so far.
I saw your very trippy
video for “Sleepwalker”
yesterday. I loved it! From a
completely visual perspective,
it has a very ‘Sin City’
vibe to it. I think I was too
distracted by the imagery to understand
the concept. What is your take
on it?
The concept
ties into the first three songs
of the record. The concept is
basically a guy waking up in the
city and, this is to be taken
in a very literal sense, but realising
how ‘all-consuming’
the city is and its occupants
have become as has Western society.
When we made the clip, we just
wanted to make something that
was a little bit different. If
people didn’t ‘get’
the narrative behind it then there
are entertaining parts to the
clip because basically it is just
putting visuals to the music.
I liked the idea of stylising
it in black and white. I’m
a big fan of black and white photography
and at the same time it also helped
because the CGI that we put in
it was done by a friend of ours.
As soon as you make it black and
white you can get away with a
hell of a lot more. With colours
involved it could take years to
do, and we only had a really limited
amount of time and a very limited
budget. It all played out exactly
how we wanted it to so that was
nice!
You’ve probably
heard this a million times, but
the DVD that you released last
year is probably one of my favourite
music DVDs ever. There is such
a relatable aspect to it that
really draws in the viewer and
takes them along for the journey.
We’re you pleased with how
it turned out and what did you
make of the insane reception from
the Australian and worldwide public?
Both were
amazing. We were so stoked with
how it came out because it’s
the first time that we delved
into the medium of visuals as
opposed to just music which is
what we’re used to doing,
just writing songs. To have our
hands in every aspect of making
the documentary was good and it
really did come out exactly how
we wanted it. I don’t think
that it would have come out the
same if we had an outside source
do it. At the same time, we didn’t
really know how people would take
it because we figured that it
was a bit different from other
band documentaries and stuff like
that. To have it received how
it is, and for people to ‘get’
what we tried to put across and
appreciate us for who we are or
what we’re not is, well,
you can’t really ask for
much more. It’s really nice.
We put so much of ourselves into
that and to have it received in
that way was really awesome.
I don’t know if
you’re going to remember
this particular show from last
year… it was in support
of ‘The DVD’ tour
actually! The show was at The
Palace in Melbourne with Architects
and August Burns Red. There was
a guy in a wheelchair that was
pulled up from the pit and onto
the stage by the kids in the crowd.
I was standing at the back and
it felt like the whole intensity
of the show just lifted up another
notch and became a tad emotional.
Do you have things like this happen
at many gigs?
Yeah! I
totally remember that! That was
insane. It was so, so awesome!
It was awesome that he got lifted
up. The act kind of speaks for
itself. You can’t really
put that kind of feeling into
words. It was so insane. The show
was amazing and it was just an
experience unto itself. We do
have a lot of crazy things happen
but that was definitely one of
the most emotional things that
has happened. It was pretty amazing.
Normally it’s just people
doing massively large stage dives
to get your attention but to have
something like that happen and
to see crowd… wow. It was
such a great vibe that night and
it just topped it off.
Yeah, I won’t lie.
I was almost in tears and so were
the two friends that I was with.
Yeah, so
were most people I think.
You guys are set to play
The Warped Tour starting shortly.
It’s most definitely not
your first time on the line-up,
but how does a band from Australia
go about preparing for such an
intense and harsh tour?
It is intense
and harsh! (laughs). It’s
SO hot and it’s a gruelling,
gruelling tour. It is really,
really fun and I guess that we’re
conditioned pretty well. We know
that the Warped tour is really
hot, so it’s basically just
a lot of singlets and a lot of
shorts and you only have to play
for a half-an-hour a day so after
a couple of weeks you kind of
just get used to it. Either the
show goes well or it’s shocking.
You just play and do what you
do, hang out in a bunch of tents.
It’s set out so differently
to every other festival. Instead
of there being one giant merchandise
tent and a couple of stages, every
single band has their own tent.
It’s this massive carnival
or fair or something like that.
It’s just bands sitting
in their tent and hanging out
and kids coming up and saying,
“hi” and just throwing
water bombs at each other and
barbequing and stuff like that.
It’s a really cool festival
to be on.
Coming up in September
you have your massive tour in
support of “Deep Blue”
playing alongside your mates in
50 Lions and The Ghost Inside.
Does it make much of a difference
bringing along your good friends?
Oh, definitely!
It makes a huge difference. You
make friends on tour as well and
some of the best friends that
we’ve ever made have been
on tour. To be able to take bands
out that are friends of yours
and a lot of bands that you respect
as musicians, it’s such
a wonderful position to be in
to pick and chose what bands you
get to play with. It’s really,
really great. It gives you the
chance to help bands out or play
with bands that you haven’t
been able to see before and stuff
like that. It’s definitely
a privileged position to be in.
Does it make it that extra
little bit special having your
brother come on stage before you
play?
Yeah, it
does. It’s pretty good.
We just toured Europe with them
as well. I love 50 Lions. Even
if it wasn’t my brother
singing I would love their music
anyway. I’m close to my
brother and he’s a great
musician and they’re a great
band. It’s going to be great
to see them play, especially in
that size of a venue! It’s
a pretty large tour. I kind of
can’t believe that it’s
come to this.
Yeah, you’re show
in Melbourne is a Festival Hall
which is quite an upgrade from
the last run of shows! Do you
think that some of the intensity
can get lost in such a large venue?
We’ll
see how we go. I’ve always
thought that it could get lost
but we’ve played a fair
few shows overseas and especially
in Europe on stages of that size
and in rooms of that size and
it really comes down to the attitude
given across by the band and how
they chose to receive the audience.
You can go to these kind of venues
and all of a sudden be like, “Oh,
we’re such rock stars! And
we’re going to have giant
speak stacks to stand on and be
rock and roll people!” or
you can play like you’ve
always played and make the vibe
and make the show the way [that]
you want it. So we’re just
going to set ourselves and do
what we always do and hopefully
the show is just a giant version
of what normally happens.
With yourselves, The
Amity Affliction, Buried In Verona
and a heap of other bands releasing
heavy albums this month, do you
think that it could signal a new
dawn for metal and hardcore. music
in Australia?
Maybe! We’ll
see how it goes. I don’t
think that it has taken a backwards
step in many, many years so I
can’t see it stopping now.
It could either completely explode
or it could be overwhelming or
it could stand still. It seems
like the calibre of music that
has been released lately has been
stepping up and up and up in Australia
and I guess that’s why the
reception keeps on getting larger.
There’s no reason for it
to go backwards when there’s
such quality. I think people are
finally realising how good Australian
bands are. Bands that are in their
backyard instead of looking overseas
for their inspiration. With the
music that they listen to, they
can finally have something of
their own to be proud of. I guess
that it’s just all of a
sudden booming.
Parkway Drive has toured
extensively all over the world.
How do Australian fans stack up
to fans overseas?
Ah, crazy!
Definitely the proudest fans.
Let’s put it that way. Australian
shows are still the best shows
that we play. They’re so,
so fun. It seems like every single
show that we play overseas, no
matter where we are there’s
at least one Australian that will
come to the show and they are
guaranteed to try and start up
an ‘Aussie Aussie Aussie’
chant in the middle of nowhere
which is really cool and bizarre.
You don’t have that from
any other band. You might have
someone come from Europe for an
American show or something and
be all like, “Hey! I’m
European!”, but they won’t
just be all out, loud and screaming
just yelling, “Yeah!! Australia!!”
between every song. There’s
a lot of Australian pride involved!
What was the most bizarre
place that you’ve had an
‘Aussie Aussie Aussie’
chant started?
Oh, god.
To be honest, I have trouble remember
where we haven’t had an
Australian fan come to see us.
It’s really strange. In
Slovakia we’ve had people
come up to us and maybe even in
Russia. It really is one of those
things that is almost guaranteed
every single night . To have someone
come up to you and say “I’m
from Australia” or hear
and ‘Aussie Aussie Aussie’
chant is just so random.
Just finally, what are
you hoping that people can really
take away from “Deep Blue”?
I’m
expecting people to either like
it or not like it. That’s
pretty much it. We’re stoked
with how it turned out and it
would be nice if people liked
the songs and we get to play some
new songs live. We’ve been
playing the old ones for three
years now. It’s music. It’s
all in other people’s ears.
I can’t really predict anything.
We have no real expectations.
We just make it and enjoy the
process of making it. That’s
all that we can really do. We’ll
let people decide if they like
it or not. |
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TICKETS
ON SALE NOW AND SELLING FAST! |
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TRACKLISTING
Samsara
Unrest
Sleepwalker
Wreckage
Dead Weight
Alone
Pressures
Deliver Me
Karma
Home is For the Heartless
Hollow
Leviathan I
Set To Destroy |
WHAT
THEY SAY
Byron Bay sensations Parkway
Drive are set to cement their reputation
as one of the most dominant exponents
of heavy hardcore on the planet with
their spellbinding third album, Deep
Blue.The hotly anticipated follow-up
to 2007's Horizons, Deep Blue raises
the bar in every conceivable way. While
maintaining the band's uncompromising
metallic-hardcore style at its core,
it pushes into exciting new realms,
drawing from a wider scope of influence,
incorporating everything from anthemic
pop-punk to bloodcurdling death metal.With
improved musical abilities and a thoroughly
inspired approach to songwriting, Parkway
Drive have tied the music and lyrics
together into one all-encompassing concept.
"It's basically about the search
for truth in a world that seems to be
devoid of that," says vocalist
and lyricist Winston McCall, explaining
the narrative running through Deep Blue.
"The story is told through the
eyes of a man who wakes up and realises
that his life is a lie and nothing he
believes in is real. So he tries to
find the truth within himself and his
journey takes him to the bottom of the
ocean and back again."Having recorded
their first two albums with Adam Dutkiewicz
of Killswitch Engage, Deep Blue was
tracked and mixed in Los Angeles, CA
by Joe Barresi (Queens Of The Stone
Age, Bad Religion, Tool), and mastered
by legendary mastering engineer Brian
Gardner. Crisp, unprocessed and impossibly
heavy, the production on Deep Blue brings
out every nuance of Parkway Drive's
freshly re-focused sound."It's
definitely the Parkway record I'm most
proud of," claims Winston. "We
felt like were in the deep-end recording
with someone new, so to have it come
out exactly how we wanted it, and pretty
much exceed our expectations, is a big
ask, but that's exactly what Joe did
for us."With 13 tracks in all,
standouts include "Sleepwalker",
"Deliver Me" and "Unrest".
Bad Religion guitarist and Epitaph Records
owner Brett Gurewitz makes a guest vocal
appearance on "Home is for the
Heartless", which brings epic punk
rock choruses and crazed metallic finger-tapping
guitarwork into the established Parkway
Drive paradigm."We figure that
song is going to be the most polarsing
thing we've ever written," Winston
says. "People are either going
to like it or they are going to hate
it. I think it worked. That's one of
my favourite songs on the record! "Already
one of the most anticipated heavy releases
of the year, Deep Blue represents an
exciting new chapter in the story of
Australia's most successful hardcore
band. Celebrating Resist Records 100th
release, Deep Blue will be unleashed
on June 25th.
OUR QUICK THOUGHTS
There is only one way to listen
to this album, and that is as loud as
possible. The production of this album
is stellar, in this day and age where
bands are overproducing it's a breath
of fresh air to hear something sound
so good, without all the tricks and
trimmings too many bands rely on these
days. Parkway Drive and Joe Barresi
have managed to pull off one of the
most accessible, yet oh-so-heavy album
sounds in a long time. This album will
be the one that bands run flocking to
producers now to say "this is what
we want to sound like". You can
have the perfect production, but without
quality songs, you are left with nothing.
The thing that has made Parkway Drive
so successful to date is that they have
never followed a formula with their
music, they've never stuck to one set
sound and what they deliver does appeal
to more than just your typical hardcore
/ metal or punk fan. They appeal to
all of them, and never have they done
it moreso than on this album. What they
also do is pull the live energy and
transfer it to the studio, everything
you hear on the album, you can expect
to hear live, they don't go overboard,
everything is natural. Something far
too often forgotten. The first single
'Sleepwalker' is an explosive number
that's probably already stuck in your
head, that is of course until you hear
'Home Is For The Heartless' and you
begin to "whooaaaooh" along.
Set to be one of the highlights of the
live set no doubt is this one, thousands
of fists in the air, and lungs chanting
along, it's bound to be quite a sight.
That's one of the highlights of listening
to the album, pretty much every track,
you can picture exactly what it will
be like live, and knowing the dedicated
audience these guys pull, every word
will be sung right back at the band.
'Deadweight' is another that will set
the crowd alight, this one is a punk
song, done by a metal band, to perfection,
probably the album's best track in my
opinion anyway, followed closely by
'Karma'. There isn't a dud song on this
album, it absolutely smashes anything
similar that i've heard in recent times
and as I mentioned, it's going to be
the benchmark album for a lot of people
in the coming years. Everything about
it screams awesome, from the production,
to the lyrics and songwriting, to the
artwork / booklet and the first filmclip
we've seen. Good luck to anyone else
releasing an album this year, because
you are going to have to come up with
something damn special to beat this
album. Big call I know, especially coming
from someone who generally avoids this
genre bar a select few bands, but the
band has nailed this one. Punk fans
will dig it, hardcore fans will love
it, and metal fans will cream over it.
You thought they couldn't get any bigger
than they already are? Grab a beer,
sit back and just you watch the Parkway
Express keep chugging along. It's massive.
WHERE
TO GET YOUR HANDS ON IT
Buy the CD for $19.99 - HERE
Buy the CD + T-Shirt + Embossed Tin
Case Combo for $39.99 - HERE
* Limited Quantities Remain *
Buy
on vinyl for $23.99 - HERE
LINKAGE
Website - www.parkwaydriverock.com
MySpace – www.myspace.com/parkwaydrive
Label – www.resistrecords.com
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| DEEP
BLUE TRACK BY TRACK BY THE BAND |
SAMSARA
We have always had some kind of intro
into whatever record we have released,
and it generally follows with a breakneck
pace. This time around we wanted to do
the opposite and just create a heavy drone.
The lyrics are taken from both the George
Orwell novel 1984 and the first noble
truth of the Buddha. They serve as the
beginning of the lyrics themes of this
record as does the build up of music.
UNREST
The goal for this song was simple, fast,
and heavy. The main riff was originally
a breakdown that we decided to try and
use as a riff in itself hence its chugging
nature. We wanted this to be relentless
from start to finish, but at the same
time reasonably abrupt. At the time is
was the shortest song we had ever written.
This song features the ONLY change we
made from pre production to the final
product. We lengthened the last breakdown
by one bar because Joe liked the “groove”.
SLEEPWALKER
From the word go this song was about the
riff. I love the riff in this. Its so
stupidly simple but it sticks in your
head like gum I’m your hair. Thanks
Jeff. This was one of the earlier songs
that we wrote for the album which we really
embraced the idea of repetition. In the
past we have tried to mash as many riffs
as possible into a song. This time around
we figured if a riff is good, why was
it by just hearing it for two bars. We
structured this a little differently to
anything we have done in the past. Instead
of just building the song up to a breakdown
we chose to drop the last section into
some melody. It’s strange for us
but one of my favourite parts of the album.
This song takes a lot of influence from
the novel “one flew over the cuckoos
nest”.
WRECKAGE
This song is about riffs. From the word
go we chose to write this song in a very
basic fashion and just let the riffs drive
the song. It’s pretty slow but it
hits fucking hard for a more melodic based
song. Writing this song was another case
of writing in a simplistic manor and just
leaving the song once it felt right. For
a song that contains on little breakdown
I think this song is one of the heaviest
on the album
DEADWEIGHT
One of my favourites. It has everything.
The melodies in the intro chords remind
me of the offspring, the fast parts are
breakneck and the Breakdowns crush everything
else on the album. There’s not much
else to say about this one. Again it’s
simple, but it works for us, plus the
bass at the end is a monster. So dirty.
ALONE
The most melodic song on the record. There’s
not too much to say, other than there
is a jazz funk bass interlude hahaha.
The lyrical images for this song were
actually about written after surfing one
night. We went to go out after work around
midnight and I arrived and I managed to
arrive before everyone. The waves were
good so I decided to go out by myself.
Sitting in the ocean, surrounded by complete
blackness above and below, a massive summer
storm was exploding on the horizon. Birds
flying past my head, making noise but
remaining invisible. Makes you feel very
small in the scale of things.
PRESSURES
We wrote this as the centre of the record.
It was nicknamed reverse for the reason
that it is literally half a song, turn
over on itself and played back. We reached
the middle breakdown and then played everything
back again, hence the strange noise at
in the middle. From there on it’s
all reversed. The guitar lead you hear
the second time around it the same as
the first, just played backwards note
for note , which is why it sounds kind
of familiar. The lyrics are based on the
story of Siddhartha, by Hermann Hesse.
DELIVER
ME
I like this song, I think because it has
a bit of everything in it. Its heavy,
it has some hooks too it, but the centre
clean section is so soft a calm. We wanted
to make a song that was just insanely
heavy, but also had complete calm, the
idea being both parts play off against
each other and accentuate both aspect
as much as possible. Not sure if it works,
but I like the song.
KARMA
Probably the most ‘Parkway”
sounding song on the record, this was
the last song we wrote before going in
to record. There’s not a super amount
to say about this one to be honest. It’s
fast, it’s heavy, and the lead part
at the end reminds of the old theme song
for that old Australian TV show ‘Ship
to Shore’.
HOME IS FOR THE
HEARTLESS
Probably the least ‘Parkway’
song on the record haha. I’m guessing
this would come as a little bit of a surprise
for most people on first listen, but we
never really went out to make it this
way to be honest, it just kinda happened.
We did want to do something a little different
but when the riff was written we saw opportunity
to try the punk rock element, for better
or worse. Luckily we had Mr Brett to help
us out and I guess 30 years of punk rock
harmonies can help you get it sounding
at least alright. The weird thing is,
while the chorus really sticks out on
this songs, the guitar and drum work on
this track are some on the most technical
on the whole album. The lyrics are about
the over development and gentrification
of small towns. Coming from Byron its
really something that hits close to home.
HOLLOW
This is actually a remodelling of an older
song called HOLLOW MAN. Basically there
was elements of the older song we still
loved, but other parts, mainly the central
riff ,that we didn’t. We like the
idea of rerecording it tuned wayyyy lower,
but the riff sucked, so we figured lets
cannibalise the song and re do it. The
intro is pretty much the same, the structure
is the same, the middle breakdown and
ending are the same. I re wrote the lyrics,
using a couple of the original elements,
and then our friend Marshal from The Warriors
helped us out with the verse on the middle
build up. It’s weird, the song sound
totally different, but so familiar at
the same time.
LEVIATHAN
I
This song is heavy. The lyrics and theme
come from Friedrich Nietzsche
‘And if you gaze for long into an
abyss, the abyss gazes also into you.’
We are told to find peace in a world that
we create and fill with anything but.
We all wish for peace and peace of mind,
but the reality is we are violent, volatile
beings. We thrive on conflict and dominance,
and no matter how hard we try, our surroundings
consume us inside and out, and the resulting
actions are anything but peaceful or enlightened.
SET TO DESTROY
The shortest song parkway has ever written.
We wanted to end the record the same way
we started. It’s pretty much the
exact opposite way we ended every other
album and that’s the point. We wanted
to punch people in the face and have it
end before they even realised what the
fuck happened. Its annoying hahaha. It’s
a song of pure anger and violence. If
we can’t find peace in ourselves,
we will do anything we can to take it
from others. We become the monsters we
try so hard to destroy |
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::: INTERACT :::
