trap them have returned, through formative musical experiences in a stark scene of innovation that fostered a movement out of new england. after some down time, the band are suddenly rehearsing more than ever.
“instead of the songs being one day, every track is like one hour in a day. so, one o’clock- “salted crypts”, two o’clock -“habitland” and so on.” -brian izzi (guitarist)
the band insist their is no sexual meaning to the album name BLISSFUCKER, rather it is like fucking up someone’s bliss. imagine trap them playing at a picnic in a park on a nice summer day.
life is full of “savage climbers” and just like the opening of that song, ever spirals outward.
click here to read the feature exclusive interview.
ryan photo by missmagpi.
Finally got to catch you live last year at nemhc fest. talked to ryan at that time. he said you were still doing the band seriously but kind of on your own schedules as life permit. I just didn’t expect a new full-length so soon. maybe ep’s or something. but this record is out and it’s fucking awesome.
Brian Izzi (guitar): cool. thank you. things sort of changed that made it a little bit more possible to do a record and play a few more shows here and there than we expected. once we’re committed to a record, we’re pretty serious. that’s why we are releasing that one now. Our past drummer chris ended up joining another band in the downtime that we had, so we ended up getting this guy brad fickelson, he’s from Boston.and our bassist is in Boston, so now we are able to actually practice. Most of the band is in Boston. It kind of changed radically the possibilities of being able to plan a little bit more than we used to.
so ryan is the furthest away?
yeah, he’s in Seattle. but , y’know…same old. the main thing in getting the music down is that we’re now able to practice more, it’s interesting, than we ever did. we’re putting stuff in the setlist that we haven’t played in awhile. it’s pretty cool.
it’s funny when life throws those curveballs.
at the time, chris our ex drummer lived in louisville, i lived here. without a drummer present, practicing is not even an option. it became difficult to practice, much less organize a show. everything worked out so that we can do a litle more.
you guys aren’t like green day where you can write on acoustic and transpose to electric. oh, “insert d-beat here”.
i’ve always been impressed…showing trap them to people of how you can get a big gnarly sound with just one guitar. This record is pretty awesome performances you guys captured. how do you think it stands in comparison to some of the other works?
every full length that we’ve done has a different drummer on it. that sort of dictates how it is going to sound. just the nature of a different drummer pushes it to a different feel. brad has more of a straight-forward feel, which i really like. So the new one has more a direct sound but in a way it kind of reminds me of the directness of our first. so yeah, i think it stands alongside all of them pretty well.
there’s a sense of growth in that you can hear the band and know it is trap them, but things aren’t getting boring.
there’s a bit more focus on songwriting because i have more time. before we were touring so much that we were focusewd on the schedule. for this record, there was no pressure outside of once we booked the studio time, months and months in advance, to work it out. then when brad was on board and i played with him a few times and saw how capable he was and could do the various styles, then i estimated and modified things from there. i’m obsessed with song writing from studying it in bands of other genres, so if the structure of the song is good it will still be a good song, sort of. you need to just kind of love music, when it comes down to it,
you can tell you pay that much attention to it. the break at the end of “habitland” with just the drums and screaming right into the begining of “gift and gift unsteady” where you are doing those kind of catchy little leads between the unified down chords, or whatever…in the begining of that song. things like that make you capture attention. it’s not easy to make people love a whole record these days.
that’s cool, man. i appreciate that. it’s also about making a full record. this is something that kurt ballou and i agree on. making sure the songs flow together in a full way. so, no one wants anything to get boring. also to have it from song to song be a beat. try to have a flow. if “gift and gift unsteady” is a good, rock based song. if it was 5 songs in a row like that, forget about it. but coming out of the end of “habitland” like that, it sounds cool. it’s a welcoming feel, right after it. songwriting and album sequencing.
metalcore is supposed to be passionate but i don’t feel any sense of urgency in some bands, or others confuse that with being dicks. but you guys always seem urgent. it captured the live feeling of the intensity of seeing you guys live, which is also not easy to do.
i think we were just more prepared than other records. and thankful for galen and brad and ryan. it wasn’t a lot of takes. most things were done in one to three takes at the most. i think we were able to do that because everyone can play well but also because we aren’t being really nitpicky, fixing every little thing and losing the live feel. not that their are mistakes on the record, but i’ve been in situations where people end up fixing every little thing and it ends up being sterile. even if we make a little flub, people may not even notice. we’re not gonna fix it because it adds that human element to it.we didn’t nerd out to much. we just went for it, so…
i think most people kind of associate you as a New eEngland band. even though you have lived in many parts of the country. but do you still focus on regionalism as much as kids maybe do when they first get into hardcore? you kind of do your own thing. sometimes people say there is a nyhc sound or boston sound, etc.
well, me and ryan started the band and are both from new hampshire. that’s where we started this band. so i consider us a new england band.i guess i don’t think it out, like i don’t want to sound like this or that. you go to kurt ballou and it’s gonna have a certain sound. cool thing for us is we’ve done every record with him for sometime now. as his sound gets more popular i think people that don’t know we’ve been going to him think ,”oh, you’re getting his sound.” well, (chuckling) we’ve been doing it the whole time.
as far as bands like converge, we look up to them. there are certain bands we feel like we’re a part of. some of the bands of Boston and bands related to deathwish. converge, hope conspiracy, doomriders, those are all our friends. those are the people who will hear our record first. so there’s something there.