Structural Disorder - ...And The Cage Crumbles In The Final Scene
- Please describe the new album musically and lyrically?
The Cage Crumbles In The Final Scene” is heavier and darker than its
predecessor DISTANCE. It is a concept album in the sense that the songs
are tied together by a loose connection. Combined together, this is a
mirror image of the present, ending in a vision of revolution.
All live photos by Conny Myrberg (artrock.se)
- If you had to choose one artist (I know this is hard) but if we had to say "recommended for fans of XXXX" who would that be?
- How does it differ from previous recordings?
When DISTANCE (2016) was recorded,
we already had an album behind us, and a lot of lessons learnt from it,
so we went into the process with a detailed plan of when songwriting,
arrangement and preproduction all had to be finished. We also wrote
more music than we intended to use, so we had a ‘kill your darlings’
day when we met and decided on the final songs to make it onto the
For the new one, the process was a
bit more relaxed. We met up early 2017 after a short hiatus, to talk
about the next step, and someone said ‘Hey, we're recording an album
this summer, right?’ and we all just kind of went with it. We had
enough material already written, either from the DISTANCE writing
sessions or written after its release 2016, and so we just had to
finalize arrangements and make preproductions. We also knew how great
it was to work with Jocke Skog, so of course we contacted him
immediately after our band meeting to make sure to have him recording
and mixing this one as well.
- What was the goal with making this album?
Our goal with this album was to
explore the heavier and darker side of our sound which we introduced on
our first album. By focusing on our heavier and darker sound, as
opposed to our previous album where we explored more of our progressive
rock side, we are able to introduce a well represented view on what we
are all about when putting these three albums together. The representation of Structural Disorder in its entirety would not have been complete without this album
- Please tell me something about each of the tracks on the album
INSIDE is the prologue to the album, giving a soft beginning and setting the stage lyrically for the songs to come.
THE FOOL WHO WOULD BE KING is a
track that Erik had been working (musically) on for a while - but, with
that being said it was not nearly finished when the band recorded
DISTANCE. Musically it goes from being this epic and pretty aggressive
tune to being a cabaret tune… and then it returns right back at the
epic and angry riffing again, only to take a left turn and end up in a
more mellow part before ending aggressively again!
Erik and Markus co-operated on the
lyrics for this one, where Erik wrote most of the first part (the
cabaret section and the chorus) and Markus contributed with the more
aggressive sections along with the mellow bridge.
DROWNING is one of the oldest
tracks on the album. It has been 99.8 percent done for years - but it
has always felt as if something is missing. When we were preparing the
tracks for this album, Johannes re-arranged a few parts in term of
length and whatnot and also re-wrote the vocal melodies and the lyrics.
Then we brought the song back to the rehearsal space and re-wrote one
of the riffs, which turned out to be the missing piece of the puzzle.
In a way, it shows that some songs need to get a bit of extra time to
NINE LIES is a really heavy and,
honestly quite odd and a bit unpleasant and eerie track. The opening
riff was originally conceived to be something of an ‘INTRONAUT meets
LEPROUS’-type riff that then lead into something similar to early TOOL
tracks. The chord progression in the chorus is actually the same one as
the one used in INSIDE, but played quite differently of course.
The opening/main riff to THE
ARCHITECT OF THE SKIES was something that just came about in the
rehearsal space. It carries a scent of of SEVENTH WONDER and IRON
MAIDEN in a way - and Erik’s first instinct was to write a “huge epic
track” out of it. For some reason the song took a left turn and ended
up quite “short and catchy”, but we are more than happy with the end
The lyrics, in a way, deal with the
idea of immortality and how artists can achieve a form of eternal life
by creating art that lives on after they are long gone.
KEROSENE was written before the
recording of DISTANCE, and is in a way PYRENE’s little sister. We
eventually decided the arrangement needed some refinement and so it was
saved for a later release. Out of the new songs, KEROSENE is the one
most reminiscent of DISTANCE, a sort of bridge between the albums, if
you will. It is also one of our very few instrumentals, or rather, it
has some vocal harmonies, but no lyrics. Early on, there actually were
some lyrics in progress, but they ended up being scrapped and replaced
with this semi-instrumental concept. Of course, it leaves the song very
open ended, as the title and the soundscapes themselves are the only
clues to what the song is really about.
MIRAGE was the last track to be
finished and ready for recording. The opening/main riff is something
that Erik came up with when he was messing about at work one day whilst
waiting for his students to arrive. The riff in the bridge section is
Johannes’ creation and was written at a rehearsal after someone said
“Hmm… there should be a build up, unison riff here…”, upon which
Johannes left the room for a few minutes and then came back with this
(actually quite tricky) line that occurs throughout the song.
An idea that we originally had
with the song was to make it a bit like the song YOUR KETTLE by the
band PORTAL, in which every riff fits “on top” of the other. In the
end, it didn’t quite work out that way - but the idea to have every
riff in the song being played at the same time was actually something
that Erik had in mind for quite a while whilst completing the
arrangement of the song.
Lyrically, this is the closing
point for the story, which mirrors back to the opening and transcends
to new territory, just as it was promised in the beginning.
- Any specific influences towards music or lyric subject?
Musically, it is what would happen
if GOJIRA made a baby with GENESIS (around the FOXTROT era, not the I
CAN’T DANCE era.) and put an accordion in the hands of the baby. The
lyrical themes are mainly collected from present day news cycle mixed
with fantasy, existential questions and fears that some of us carry on
- How long did it take to make this album:
It depends on how you start
counting. We decided early 2017 that we wanted to make a record the
following summer, although at the time we were not sure if the format
would be an EP or a full-length album. Spring was spent rehearsing and
finalizing arrangements, and eventually recording preproductions. We
had planned to start recording in July, but we ended up delaying it and
so we recorded drums early September, the rest of the instruments and
vocals throughout autumn, and then having a final master late December.
However, several of these songs date back as early as 2014, from when
we were writing songs for DISTANCE. We felt some of the songs were not
ready for DISTANCE, due to not feeling quite finished or not fitting
the mood of the album, so they had to wait for this one.
- What have the different musicians contributed to the result?
As a general note, Erik wrote most
of the riffs and chord progressions, and Johannes wrote melodies and
lyrics. Exceptions include THE FOOL WHO WOULD BE KING and THE ARCHITECT
OF THE SKIES, which were mainly written by Erik, and KEROSENE, which is
2. The Fool Who Would Be King
4. Nine Lies
5. The Architect of The Skies
Markus Tälth - lead vocals, electric and acoustic guitar
Erik Arkö - bass guitar, spoken voice
Johannes West - accordion, synthesizer, backing vocals
Karl Björk - drums
Hjalmar Birgersson - piano, keyboards, backing vocals, additional electric guitar
All tracks recorded, mixed and engineered by Jocke Skog
Mastered by Tony Lindgren at Fascination Street Studios
Drums recorded at BMP Barock Music Production AB, Stockholm
Backing Vocals, Acoustic Guitar and Acoustic Accordion recorded at Sunmountain Facilities
Vocals recorded at Nale HQ, Stockholm