Harnessing the intensity and intent of a debut album can be difficult.
Public expectations are noticeably higher for your second release and your existing fan base has likely also grown significantly.
Many bands attempt to replicate the things that went right the first time around and end up forcing themselves into a sonic box of expectation, but not so Australian metal outfit Escarion who have introduced elements of progressive and symphonic metal to their existing blackened death leanings for album number two, Towards A Futile Existence.
To find out more HEAVY sat for a chat with guitarist/vocalist Johnny and bass player Rhys.
“It’s been really awesome,” Johnny smiled of the early reception to the album. “We’ve got two really good reviews so far, and everyone that has listened to it has loved it. We had an album launch party last night, and we hosted it where we usually rehearse. We got a few friends to come down and have a listen, and it was great.”
We ask the boys to talk more about the musical nature of Towards A Futile Existence.
“With this album, obviously coming off Pillars Of The Faith, our first album having a concept of Seven Deadly Sins and a much more subjective approach,” Rhys began, “we have gone for a concept again, but this time in a broader sense where we are talking about society as a whole and the objective of looking outwards and towards the future and the bleakness of that. It’s a very dark album.”
In the full interview, Johnny and Rhys talk about adding progressive and symphonic elements to their music, the addition of new member Gaia and what she brings to the band, how Towards A Futile Existence differs musically to their debut, what lyrical themes they explore, the album artwork and what it means, new single Zeitgeist and how it relates to the overall sound and more.