{"id":76682,"date":"2026-11-08T15:45:37","date_gmt":"2026-11-08T15:45:37","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/11\/08\/new-album-be-not-afraid\/"},"modified":"2026-11-08T15:45:37","modified_gmt":"2026-11-08T15:45:37","slug":"new-album-be-not-afraid","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/11\/08\/new-album-be-not-afraid\/","title":{"rendered":"New Album \u2018Be Not Afraid&#8217;"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIf the term \u201cpost-rock\u201d wasn\u2019t already taken, it would be a perfect descriptor for the fractured, future-warped music of <a href=\"https:\/\/www.rollingstone.com\/t\/polyphia\/\" id=\"auto-tag_polyphia\" data-tag=\"polyphia\">Polyphia<\/a>, a largely instrumental foursome who take virtuosic guitar music into places that would melt older shredders\u2019 minds. Even as fleet-fingered guitarists <a href=\"https:\/\/www.rollingstone.com\/t\/tim-henson\/\" id=\"auto-tag_tim-henson\" data-tag=\"tim-henson\">Tim Henson<\/a> and <a href=\"https:\/\/www.rollingstone.com\/t\/scott-lepage\/\" id=\"auto-tag_scott-lepage\" data-tag=\"scott-lepage\">Scott LePage<\/a> keep pushing guitar technique forward, they\u2019ve evinced minimal interest in carrying on any rock lineage, and are instead obsessed with bringing influences from pop, EDM, hip-hop, and video-game soundtracks into a ferocious live-band context. Older-school shredder <a href=\"https:\/\/www.rollingstone.com\/t\/steve-vai\/\" id=\"auto-tag_steve-vai\" data-tag=\"steve-vai\">Steve Vai<\/a> paid his respects with a guest appearance on their last album, 2022\u2019s <em>Remember That You Will Die<\/em>, and longtime <a href=\"https:\/\/www.rollingstone.com\/t\/kanye-west\/\" id=\"auto-tag_kanye-west\" data-tag=\"kanye-west\">Kanye West<\/a> producer <a href=\"https:\/\/www.rollingstone.com\/t\/mike-dean\/\" id=\"auto-tag_mike-dean\" data-tag=\"mike-dean\">Mike Dean<\/a> is one of their heroes and a fan in his own right \u2014 he had Henson and LePage open for him at a rare live show in 2024.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe band\u2019s just-released new album, <em>Be Not Afraid<\/em>, is as quirky as ever, but it has some of their heaviest songs yet, with more overt nods to metal than usual.\u00a0Henson and LePage hopped on a Zoom with <em>Rolling Stone<\/em> to dig into their latest influences, the making of the album, and how they get their rhythm section (bassist Clay Gober and drummer Clay Aeschliman \u2014 yes, they\u2019re both named Clay) to sound inhuman. \u00a0They also weigh in on the rise of fellow instrumental oddballs Angine de la Poitrine.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Tim was way ahead of a huge trend in guitar playing \u2014 ditching physical, tube amps for digital modeling. Scott, are you post-amp as well?<\/strong><strong><br \/><\/strong><strong>Scott LePage:<\/strong> Yeah. When we were kids, digital amp modeling was kind of coming up, and we were like, \u201cHuh, we can buy this one thing and not have a bunch of other things that are massive and heavy and expensive.\u201d It almost wasn\u2019t even an option to have a bunch of amps as a 16-year-old kid. So having the fake version of all the things is kind of sick. My dad got me this DigiTech thing. It was an effects thingy that had some amp modeling in it, but the main thing was [the 2009 software plug-in] POD Farm. Some of those models still hold up now. We still use it from time to time \u2014 that Angel P-Ball one that they have, Big Bottom, that\u2019s a classic and everyone knows that one.<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Did you ever try a real amp in the studio on this album?<\/strong><strong><br \/><\/strong><strong>LePage:<\/strong> There was one time we re-amped with an amp, and we were like, \u201cThis sounds worse.\u201d It was just whatever random amp that guy had in his studio.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Tim Henson:<\/strong> Everything that was captured on the record is the exact way that it was in the studio, where all the magic and the mojo was done from that particular sound. And when trying to re-amp it, it just takes away the magic and the mojo.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>It\u2019s been a while since your last album. What was the gap about?<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> <em>Remember That You Will Die<\/em> came out in \u201922, and we spent all of \u201922 and \u201923 touring, and in between tours, making demos. The very first song on the record, \u201cLet There Be Light,\u201d was the very first song that we started for this album, around the end of \u201923, going into \u201924. It took a lot of demos to get to that demo and realize, \u201cYo, this is the sound of the album.\u201d Once we realized what the sound of the album was, we took off most of \u201924 from touring, and all of \u201925, to dive deep into it. Our last record before <em>Remember That You Will Die<\/em> was <em>New Levels<\/em>, and that came out in 2018. So we\u2019re slowly but surely trying to train our fan base to not expect music [sooner than] every four years. Hopefully five \u2014 maybe 12, like Tool! You gotta give us time to cook.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"LET THERE BE LIGHT\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/RrFtYQxPaXE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>LePage:<\/strong> And you gotta tour on the things you cook. You gotta do that for, like, two years. And we\u2019ve written an album on tour before, and it\u2019s just a lot. So for this one, taking \u201925 off was the best thing for this record, and we really just sat down and locked in with it. Of course, we had the demos, and the idea of what the record was gonna sound like, but a lot of what you\u2019re hearing happened last year.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Polyphia - Ego Death feat. Steve Vai (Official Music Video)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/1JNmz17gnMw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>\u201cLet There Be Light\u201d is heavy as hell, and the whole record leans into your heavier, darker side. What did that song open up?<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> Definitely, definitely the heaviness. \u201cLet There Be Light\u201d is kind of like [Polyphia\u2019s 2018 song]\u00a0 <a href=\"https:\/\/www.youtube.com\/watch?v=9_gkpYORQLU\" rel=\"nofollow\" target=\"_blank\">\u201cG.O.A.T.\u201d<\/a> and \u201cFear God\u201d is kind of like the [2022 Polyphia song] <a href=\"https:\/\/www.youtube.com\/watch?v=9_gkpYORQLU\" rel=\"nofollow\" target=\"_blank\">\u201cEgo Death\u201d<\/a> of this record.\u00a0<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThose are the two songs that we can liken to other ones in our discography on this record. The other 10, I wouldn\u2019t liken them to anything of our discography. Originally the plan was, \u201cOK, here\u2019s our lead single. Let\u2019s craft an album around it.\u201d And of course, we made things that were so far different from it that it was like, \u201cOK, this is no longer our lead single.\u201d But it was the evolution of \u201cG.O.A.T.,\u201d but in a very heavy style.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>When in the process do your drummer and bassist come in?<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> They come in towards the end. It\u2019s just like, \u201cHere\u2019s the demo. Play this how you\u2019re going to do it live.\u201d And then what\u2019s so funny to me is that a criticism is like, \u201cI didn\u2019t even know there were drums.\u201d Everything that you\u2019re hearing was played by a human. That\u2019s the beauty of sound design. We have one of the best drummers and bass players in the world. Absolutely we want to utilize them to their full potential. So that\u2019s the beauty of the whole record, is it\u2019s done by humans, and it sounds nothing like humans.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What do you use when you program beats for the demos?<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> Samples.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Polyphia - WITH EYES TO SEE (Official Video)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/WyfIzJwwOTc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Oh, really?<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> Yeah, and just copy-pasting a million hi-hats in a row. It\u2019s speed programming, where it\u2019s like get the idea out as quick as possible so that other ideas can birth, and we can just keep the momentum. This is how songs like \u201cCan You Feel It\u201d and \u201cWith Eyes to See\u201d are born in a single day. As soon as the idea\u2019s out, it\u2019s like, \u201cOK, that sounds fire. Let\u2019s move on to the next thing.\u201d And every choice becomes extremely obvious.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Polyphia - CAN YOU FEEL IT (Official Music Video)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/rNDwpO1toCQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>\u201cCan You Feel It\u201d is like your version of Disclosure \u2014 live metal house. What was the thinking there?<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> You know that [2002 electrohouse] song \u201cSatisfaction\u201d [by Italian producer Benny Benassi]? There\u2019s some incredible riffs from those super iconic dance tracks from the \u201990s and 2000s, and it\u2019s just like, let\u2019s touch on these incredible, iconic moments. I guess my introduction to house has always been through Kanye, where he\u2019ll just take a house sample\u2026 or a gospel sample even, and just make it house, and just hit the button over and over and over again. So just kind of playing off of how Ye would do it, but in the context of, OK, we\u2019re gonna perform this with the energy of a metal band. The song and most of the album doesn\u2019t focus at all on the technicality of music. We have an entire discography of technical crazy playing. Let\u2019s focus on melody, groove, and vibe.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Benny Benassi - Satisfaction\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/a0fkNdPiIL4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>How do the two of you write? Separately, or together?<\/strong><strong><br \/><\/strong><strong>LePage:<\/strong> A lot of \u201923 and \u201924, I can tell you that I had started experimenting with different kinds of scotch. I don\u2019t condone this, but a lot of the demos that ended up being on this record was because I was just on my fifth glass of scotch just being like, \u201cHow can I do this cool thing?\u201d Or, \u201cWhat\u2019s going on here with this idea?\u201d Of course, Tim brought plenty of ideas that we ended up using in the session. Basically me and Tim go off on our own thing, and we\u2019re always creating something, and it\u2019s just kinda trading off: \u201cOK, show me what you\u2019ve made this month, bro.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThat kinda kicks off the start of the record, and then the bulk of it is the momentum that we build doing sessions for three weeks at a time, standing or sitting in the same room and working on all these things, and having several brains riff off of each other. The analogy that I used for something else was throwing a ball at a wall in a very large room. It\u2019ll bounce on the wall and then go to the floor, whereas you have a bunch of walls close together in a little cube and you throw the ball, it goes all over the place. The walls are our brains and the ball is the idea. One thing that this record has over all the other records is the speed of getting those ideas out.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Henson:<\/strong> The funny thing is most of the demos that I brought to this record did not make it. I like a lot of those demos. I think they\u2019re all cool. They\u2019re very classical Polyphia, and they didn\u2019t make it to this record because they were very classical Polyphia. Most of my contributions to this record were on the spot, just kind of vibing out as the beat is playing, pretending I\u2019m Ye and just humming a melody out, and it\u2019s like, \u201cOK, that\u2019s the melody right there.\u201d And then moving it over to a guitar.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>LePage:<\/strong> Tell him about the hook zone.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Henson:<\/strong> So in Scott\u2019s room, behind his desk is an area that you can walk back, and we would have a beat playing, and I would just go stand in the hook zone and pace. Not stand, but pace in the hook zone. All the hooks from this record were written in that spot. It just comes from a simple singing idea, and it\u2019s just like, \u201cThat\u2019s fire as fuck. I know that\u2019s fire as fuck because it\u2019s fire as fuck for me singing it badly. Imagine it on a guitar, that\u2019s sick.\u201d<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Polyphia - MARK OF THE BEAST (Visualizer)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/n4vsc-KQJHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Where did the grinding main drop in \u201cMark of the Beast,\u201d around 1:04, come from?<\/strong><strong><br \/><\/strong><strong>LePage:<\/strong> It was something I heard on TikTok or something, and it was just one of those, I have to fucking hear this with guitars. Another example is, we just talked about this earlier today, it was a Charli XCX song with Billie Eilish on it, and <a href=\"https:\/\/www.youtube.com\/watch?v=huGd4efgdPA\" rel=\"nofollow\" target=\"_blank\">the version<\/a> with Billie Eilish on it has a section in there that is like a four-on-the-floor head bang to the fucking quarter notes of the song. Like, oh my God, this is so hard. And to that I was like, dude, imagine fucking Meshuggah guitar on that shit following those quarter notes.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tI guess my influence for thinking like that is Meshuggah did a cover of a Rammstein song. They did \u201cBenzin,\u201d and it was a remix by Meshuggah. If you listen to the original Rammstein song, it is nothing like that. I would never have guessed that came out of it. So it\u2019s really just Meshuggah writing a song with the influence of the Rammstein song, which is fucking cool to me because now there are two things on earth that exist that I like instead of just one. So taking things that I hear and being like, \u201cHow would my brain process this?\u201d is what \u201cMark of the Beast,\u201d specifically that part, is.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What did you hear on TikTok?<\/strong><strong><br \/><\/strong><strong>LePage:<\/strong> It was some beat and a rapper or something like that. And I was like, \u201cOh, that\u2019s cool.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>So part of the key is hearing all kinds of music and imagining it with your crazy guitars.<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> That\u2019s the question that we always ask ourselves: \u201cThat\u2019s sick, but what if it did this?\u201d That\u2019s how you end up with a record like <em>Be Not Afraid<\/em>, because it\u2019s just chasing that excitement of, \u201cWell, yeah, that\u2019s sick as fuck. Let\u2019s do that.\u201d And then after we do that it\u2019s like, \u201cOK, that\u2019s sick, but what if it did this?\u201d It\u2019s just this feedback loop that just keeps going until it\u2019s like, \u201cWell, the song\u2019s done. Let\u2019s move on to the next.\u201d<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Polyphia - FEAR GOD (Visualizer)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/RXhD8C43oN8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Scott, \u201cFear God\u201d began as one of your demos?<\/strong><strong><br \/><\/strong><strong>LePage:<\/strong> That one started off with just the fifth glass of scotch type of thing. I remember specifically thinking with that one, I don\u2019t wanna do a chord progression where I would think it would go normally. So I kind of purposely did different shit. For whatever reason I can never really fully complete an idea. Tim, you can attest to, the fourth section of any part of anything I write is usually guitar-less. So when I\u2019m handing these ideas off, it\u2019s usually Tim being like, \u201cOh, this is an excellent idea and an excellent theme. Let me fucking just take this to the finish line.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe one at the end with the tremolo guitars and shit \u2014 we were doing a session in Miami in an Airbnb, and I just clicked play on some random demo thing that I was just doing \u2019cause I got an idea, and Tim came in my room and he was like, \u201cYo, what the fuck is that?\u201d And I was like, \u201cOh, just some shit that I was fucking with.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>The God-and-devil theme runs through the whole track list. How did that become part of it?<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> Let me give you some context to how we made the record. We modeled the sessions after Kanye\u2019s <em>My Beautiful Dark Twisted Fantasy<\/em> sessions, where he would fly everybody out to <a href=\"https:\/\/www.complex.com\/music\/a\/noah-callahan-bever\/kanye-west-project-runaway\" rel=\"nofollow\" target=\"_blank\">Hawaii<\/a>. He would make them all wear suits when coming to the studio. He would post rules on the studio wall of, like, no Twitter, no this, no that. He\u2019d just make the studio a super sacred space. He would make everybody wake up at the same time. He would make everybody eat at the same time. He would make everybody work out at the same time, and then he would make everybody work at the same time. And so that\u2019s how these sessions went about. We did it in Miami, we did it in L.A., and then we did a bunch in Texas, for weeks at a time.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAnd the beautiful part about that is you get so in tune with each other, and part of the discussion that was happening during these sessions was the nitty-gritty details of all the super heinous, horrendous things that came out in a certain set of files this year. And so when you find out the gory, gory details\u2026 you have this feeling of disgust and anger that is so hard to place anywhere, and it makes you feel like, \u201cWhat, as a species, what the fuck are we doing? Why isn\u2019t anybody doing anything about this?\u201d And as us being musicians and songwriters, the only thing that we can do is do what we do, but now there\u2019s intent and purpose behind it.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAnd part of the reason it is so intense is to capture that intense feeling of anger and disgust of what\u2019s happening. It is a Jesus record. We put Jesus on the cover. Every song title is biblical. And because every song title is biblical, it\u2019s just layered with meaning, both metaphorical and literal. Because it\u2019s all deeply layered with meaning, everything from the composition to the melodies to the sample choices to the song titles to the art, it all has double meaning, triple meaning, quadruple meaning.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>How does that intensity show up in the music?<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> You know how in heavy music a singer will often scream to convey that emotion? It was like, how do we convey that, screaming \u2019til your vocal cords tear, but on a guitar? And it\u2019s like, OK, well, playing so hard that your string snaps isn\u2019t very useful in a musical context. So let\u2019s sound-design the shit out of these frequencies and push it so hard that it feels like your eardrum is going to burst. It\u2019s very much like a breaking of the fourth wall for the listener. And again, what we\u2019re trying to draw attention to is exactly what this record is about.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tI feel like we\u2019re the only band on the planet talking about this shit. Everybody is trying to say, \u201cOur music is an escape from all the darkness of the world.\u201d It\u2019s like, have more bread for your circus. This is the opposite of that. This is a \u201cwake the fuck up and look what is happening.\u201d We\u2019ve made two videos about it: \u201cCan You Feel It,\u201d the original visualizer, and \u201cWith Eyes to See.\u201d They drop files, and the next weekend it\u2019s the fucking Super Bowl, and no one gives a fuck. What the fuck are we doing? This album is based off of, to not be afraid to sit with it and to feel it and to fucking, once you feel it, then to get up and do something about it.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>So instead of cheering people up out of the darkness, you\u2019re diving into it.<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> Yes. You have to face it if you want anything to happen. Otherwise, it\u2019s just, oh, another distraction so I don\u2019t have to deal with it because, oh, there\u2019s nothing I can do. Well, yeah, if you feel that way, you could do nothing. But there\u2019s a clip that I included in \u201cCan You Feel It,\u201d the visualizer, and it\u2019s of Hopper from <em>A Bug\u2019s Life<\/em>, and it\u2019s at the moment where he\u2019s telling the other grasshoppers, \u201cIf the ants find out that there are more of them than there are of us, that is very bad for us.\u201d Paraphrased. The idea is to keep us all divided so we don\u2019t actually do anything.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAnd part of that is with artists that are out here pacifying the fucking listeners, almost sedating them into just dealing with the shit, and that\u2019s the opposite of what this record is to do. It\u2019s to shake the listener, again, almost a breaking of the fourth wall with the mix and how intense the moments get on this and how uncomfortable they are and how jarring it is.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Everyone says you\u2019re genreless. How do you think of yourselves in terms of genre now?<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> I don\u2019t think we do.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>LePage:<\/strong> Yeah, I never know how to answer that. In every Uber I\u2019ve ever been in, where the small talk has gone to, \u201cWhat do you do for work?\u201d And I have to be truthful. They\u2019re like, \u201cOh, what genre?\u201d I\u2019m like, \u201cYou know, man, it\u2019d be easier if you just listened to it after the ride,\u201d when I\u2019m out of the car. I guess I just go with what I like, which is, like, metal. But it\u2019s not, is it? It\u2019s not just metal.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Henson:<\/strong> I mean, this record has metal on it. Our previous records had dabbles of metal on it. Other records had no metal on it.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>LePage:<\/strong> It\u2019s kind of a better way to put it is like, \u201cWhat does it have?\u201d Instead of \u201cWhat is it?\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>This one does move further toward rock and metal.<\/strong><strong><br \/><\/strong><strong>LePage:<\/strong> The genre thing is, maybe in my brain if I knew that we were one genre, I wonder if I would feel like I have to write just only that. So maybe there\u2019s something to be said about not calling ourselves a thing. Not us \u2014 I guess I\u2019m only speaking in terms of my own brain\u00a0\u2014 but I know that there\u2019s no boundary\u2026 because there\u2019s not a definitive label on it. But maybe subconsciously there\u2019s something there where I\u2019m just like, \u201cOh, I\u2019m free to do whatever the fuck I was gonna do, and I don\u2019t have to make this thing metal if I don\u2019t want to.\u201d Tim could write something super nice and peaceful, and then if I was in a \u201cI\u2019ve been listening to Pantera all month\u201d zone and he gave it to me, I might make it heavy, and then that\u2019s an idea. Maybe we go somewhere with that, maybe we don\u2019t.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Henson:<\/strong> Another easy way to put it is we\u2019re just chasing excitement. Whatever excites us, whatever is the most fun.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>LePage:<\/strong> There\u2019s a much easier way to put it, yeah.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Henson:<\/strong> It doesn\u2019t matter what it is as long as we\u2019re stoked about it.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What do you think of Angine de Poitrine, the instrumental band from Quebec?<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> I\u2019m not one to give my opinions on music in the press. So I will say that I think it\u2019s cool that they exist. I think it\u2019s cool that they make instrumental music, and more power to them, and I\u2019m just stoked for them.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>LePage:<\/strong> I\u2019ve seen this. I agree with Tim. I think it\u2019s cool. I will say my dad fucks with this a lot. He\u2019s really into it, so I\u2019ve definitely heard stuff, and it passes the head-bob test. \u2018Cause my dad really likes Meshuggah also, that rhythmic kinda fucking stuff, which this has.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>My favorite track on your album that we didn\u2019t talk about is \u201cJ-Bomb.\u201d<\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> That\u2019s a fun one. Our wives hate that song.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>LePage:<\/strong> The women in our lives, they don\u2019t know why we like the song so much. They don\u2019t get it.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Henson:<\/strong> But this is a vibe. Do you hear the Lil Wayne Young Money influence?<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I kinda do. <\/strong><strong><br \/><\/strong><strong>Henson:<\/strong> It\u2019s that era of Young Money when all the beats were super triumphant and used horns, and it was melodic and triumphant.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>LePage:<\/strong> Oh, yeah. Dude, the horn era.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Henson:<\/strong> And we were just like, \u201cYo, let\u2019s hit that era of Young Money beat.\u201d<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/polyphia-interview-tim-henson-new-album-1235653994\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>If the term \u201cpost-rock\u201d wasn\u2019t already taken, it would be a perfect descriptor for the fractured, future-warped music of Polyphia, a largely instrumental foursome&#8230;<\/p>\n","protected":false},"author":5,"featured_media":76683,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-76682","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/76682","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=76682"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/76682\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/76683"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=76682"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=76682"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=76682"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}