Fall of Troy interview

Source: Absolutepunk.net

Sometimes being young sparks a bit of naive creativity, but the guys in The Fall of Troy have grown up a bit since their first two albums, and this time around on In The Unlikely Event, they’ve shaped their ideas into a more formidable sound, without losing their successful talents. Drummer Andrew Forsman took some time out to talk about the new album, working with Terry Date and what’s up with music right now.

Coming off some of the backlash of Manipulator, how did some of that negativity fuel you guys when writing for In the Unlikely Event?

I wasn’t so happy with [Manipulator]. There is a lot of people that do like it. I mean, it’s always a bummer when people aren’t stoked on what you’re doing. A lot of the points that people brought up about it were pretty legitimate. Certainly going into the new one, we tried to keep a lot of that in mind as far as the mix of the actual record and a lot of the song writing stuff. We play what we want, and we know what we want, but sometimes certain things can be pointed out that could probably be better.

I hear you took a bit more time in the studio crafting these songs.

With the new one we actually revived a lot of the songs and took out stuff that wasn’t contributing towards the better part of the song. We took out all the show off parts that were just there to show off and tried to really leave just the meat of the song.

Though there’s a bit of “freakout” for older Fall of Troy fans, the songs are much more coehsive in the ideas that laced Manipulator. What do you cite as the change in formidable songs, and what do you have to say to the fans who still are looking for their “A.D.D.” Troy?

There’s definitely still songs that are crazy and have those parts. I think in some of the songs on Manipulator, we had songs that were trying to not have that stuff, and we tried to cram it in anyway. There’s still weird, crazy Fall of Troy parts that you’re like, “What the hell are they doing now?” but I think they fit better than on the last album. We didn’t want to freak a ton of people out, like we have. [Laughs]

If they feel like that, then that’s fine. It definitely isn’t [about not having A.D.D. parts again]. It’s not going to be like those albums, because we’re not seventeen again, and we’re a bit older, you know? People change. I still think it’s the Fall of Troy. It’s just a logical progression for us. If people aren’t into it, then they’re not. We can’t really do anything about that.

What did new member Frank Ene bring to the table for this record?

Everything from “he plays with his fingers” to “he can sing harmonies.” He’s a lot cleaner playing. He just makes the rhythm section a thousand times stronger.

The artwork for the album, and the lyrics are quite dark, but guitarist Thomas Erak has said, for the band, it’s a record about overcoming the odds in a sense, and dealing with the unexpected in life.

That sounds pretty perfect. I don’t have any hand in writing lyrics. I can’t really speak for it, but it’s definitely an album about trying to move forward with your life and with your love of whatever you do. It’s definitely about weird shit happening and persevering.

Working with Terry Day this time around, how did he approach the recording process differently than Matt Bayles?

We had never done pre-production with anyone. He came to our practice lot. We really got to know him [that way] instead of just getting to know him in the studio, we already knew him going into the studio. It was more of like a familiar atmosphere then the other times we recorded.

[Terry’s] never played an instrument. He knows what a song is, but he looks at it completely from a listeners perspective as opposed to someone who plays an instrument. I think Terry is better at looking at the whole picture of the song. I think that helped a lot.

Matt didn’t have much to say about how the songs went. We didn’t change any parts going into that recording, he just kind of let us do what we wanted to do. Terry did that too, but he [helped us step back and look at the whole].

How did Ryann Donnelly and Rody Walker get pulled on?

Ryann is just been a long time friend of the band. Her band, Schoolyard Heroes are really good friends with us. We share a practice spot with them. She did vocals on our EP. Then [Protest the Hero vocalist] Rody was playing a show, we were out of the studio driving, and we saw him out on the street, so we pulled up and said, “Get in the van,” and he said, “Cool.” He was like, “Where are we going?” I said, “The studio. You’re going to come sing.” He was like, “Cool. How far is it?” I said, “Like two blocks.” He said, “Is there beer.” I said, “Yeah, we got beer.” He said, “Cool, let’s go.”

Thomas talks in the bands biography about a lack of change and radical growth in music today, citing Nirvana. I’m not calling you out on this, saying Fall of Troy will be the next Nirvana, or whatever, but what do you guys mean by this and how does it relates to what is going on musically in the new album?

To be totally honest, I read [that bio] once, and that’s about it. There’s still awesome music, but there’s a lot of bullshit right now. We definitely are a rock band that plays their own instruments. We don’t use autotune. Everything you hear is real, and that seems to be in very short supply these days. I don’t think it’s revolutionary, so to speak, because that’s what rock and roll is, and always will be. Music will never be as revolutionary as it was, especially rock and roll. There’s never going to be a rock and roll band bigger than The Beatles. That’s as big as you can get, in my opinion at least.

Any last words on the new album?

Check it out. Buy it if you like it. Support the band if you like it. If you don’t like it on the first listen, at least give it a few more tries because sometimes stuff grows on you, and that’s the best stuff.


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