MF: Is that a hard line to walk, maintaining your consistent voice while trying new sounds? That was definitely something we wanted to draw from and create that sense of growth rather than change. There are bands like Thrice and Bring Me The Horizon that have done such a good job of slowly transitioning between albums. Otherwise it just comes down to direct comparison and we’ve always tried to avoid making albums that can be directly compared. In a way, that gives us a chance to build a new relationship and connection point. I guess that was a little bit intentional to create that moment where the listener might be like, “Who is this?” #Hands like ouses full discography list freeIt’s kind of a get out of jail free card because even though it’s us, we can kind of catch people a little bit off guard and make them think more about how they’re consuming what we do and how they interact with it. MF: Being your fourth album, was it important for you guys to break away from your comfort zone and experiment a little more on this record? That’s part of the role of the storyteller is to take on those voices and still inject a sense of meaning and a sense of purpose. While it may not be my story, it’s my own emotional weight and perspective. Part of being a singer and storyteller is creating a certain investment and point of relatability. TW: It’s a fairly open concept and it gave us the freedom to explore different ideas without feeling like anything was too far away from centre. From self-reflection and fantasy to politics, what made you draw from such a broad pool of inspirations? MF: Rather than creating a full-blown concept album, each song stands alone with its own unique themes. I guess I was always afraid that people would say, “Oh, Trenton must be this way because of what he sung about.” So letting go of that fear and trepidation of what are people going to think of me because of this was very liberating. TW: It was liberating to let go of that fear that people are going to start interpreting the songs, like superimposing some of the themes of the songs over my own relationship that I’m completely happy and content in. MF: Was writing outside of your immediate experience liberating or challenging for you? So we were all bouncing ideas off each other and I was just orchestrating the stories that we were telling each other in the way that we each would and making it my own voice. So we’d always be running back and forth checking ideas and cross referencing stuff. The studio was split into two mini studios, so I’d be doing vocals, writing and recording with Colin in the main room and the other guys would be down the end of the hall tracking in all of the guitars. From a lyrical standpoint, it is mostly me but in this case I worked with Colin. Everyone contributes different ideas in different ways. TW: Yeah! In terms of the overall song writing including all of the music and stuff, we have a pretty broad process. MF: Is the song writing process usually that collaborative? So it’s always going to be our voice and perspective on things but with the concept that this isn’t about us, this is just us. When we would start writing songs to put on the record, we’d just sit down together and talk about people, politics and things happening around us. So I just started exploring different narratives that weren’t mine. I’m happy and content but that doesn’t mean I can’t write something powerful that people can relate to in a different way”. I started writing songs that were about loss and breakup and situations where I was like “well, that’s not really me at the moment. I think I just tried to step outside that a little bit. Three albums is a lot of time to explore yourself and your perspective on the world. Trenton Woodley: For me it just came from trying to write things and feeling like I was hitting a few road blocks because I’ve already told that story or already explored that feeling or asked those questions. What was the inspiration behind this concept? is based around the idea that music can be heard in passing and still resonate with people even if the artist is unknown to the listener.
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