I only have therapy sessions once a week, so when I'm working on an album, I have therapy sessions all day, every day, for better or worse. What aspects of making the new album and being in this band are unexpectedly therapeutic for you? Mental health awareness has become very relevant. I love that we don't get stuck in quicksand. It gives us a way to create in a way where we're not ever going to get bored and where we're constantly pushing ourselves to try new things. We always make sure that we keep that component as part of the band, but it's really cool for us to get to explore songs such as "Werewolf," where it's an '80s theatrical thriller, 20/20 kind of song. There are songs that are really heavy on this record and this is heavier than our last two records. We never want to abandon the roots of the band - the heavy stuff. We started as a very heavy band and we, we had songs that were not as heavy, but it seems like the fans kind of gravitated toward those tracks that were a little bit more melodic where the lyrics captured the emotions that they were feeling. What's empowering about broadening the musical parameters of the band? The band built its reputation on heavy music, but more tender songs are becoming prevalent for you. Caleb is here, let's go." Motionless in White, "Red, White & Boom" (ft. With these two guys on these tracks, especially Caleb on "Red, White and Boom," it's so exciting when he comes in and you're finally like, "Yes, the rock star has arrived. It's such an exciting component to a song that definitely makes it have something beyond what the band could do itself. I sit by just salivating, "Oh God, I can't wait for the bridge or the second verse where they're going to come in."
I I've always been a fan of features, especially if I'm a fan of the artist, I anxiously await that moment of the song. There's an excitement level that gives the song a moment beyond what the band itself can do. You get a cool moment of the song where, even though you like the band that you're listening to, there's just something about a feature that really kind of makes your head turn or your ears perk up. When you have a person on a song, it gives a second life to a track. How do outside collaborators magnify aspects of the music that are inherently you?
Brian Garris from Knocked Loose and Caleb Shomo from Beartooth both appear on Scoring the End of the World.
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