Epitaph touche amore stage four12/27/2023 In mid-February, Touché Amoré entered the studio. He rented a cheap Airbnb in Joshua Tree – deep enough into the desert that it would be a pain in the arse to dip into the city for coffee – and stayed there alone for three days to finish writing. The sentiment stuck, and Bolm would go on to write some of his most direct and surprisingly playful lyrics to date. “You don’t want to be put in a position where you’re writing something worse than that, because that’s one of the most unspeakable things someone has to go through.” “You don’t need to write a better, deeper record, you just need to write a good record,” Gurewitz advised. They hammered their practice space hard throughout January, but Bolm was still in his head about the lyrics, feeling the usual pressure to “do better” than their previous album, while knowing there’s “no way I can write anything deeper than Stage Four”.Īfter visiting the Epitaph office near his house, and speaking to founder and Bad Religion guitarist, Brett Gurewitz, things began to fall into place. Shortly after, they were offered a big European tour with Deafheaven, then a 21-date US tour with longtime collaborators La Dispute. Once that was over, the band entered the studio to trial working with legendary producer Ross Robinson, recording “ Deflector” (which would also find its way onto Lament) in the space of a few days. The Dead Horse anniversary tour followed in June of 2019. Last year marked the tenth anniversary of their debut album, …To the Beat of a Dead Horse, which they celebrated by re-recording and re-releasing it in full, using the studio time to lay down demos for new songs (“Limelight”, “Come Heroine” and “Reminders”, which would end up on Lament, plus another they ended up scrapping). Though the writing process began around the end of 2018, progress was pushed back by touring, touring and more touring. The gap between Stage Four and Lament is the longest in Touché Amoré’s history. I could literally write five more albums about it, but that’s not good for me or anybody.” “I knew I didn’t want to write any more songs about that subject matter, because: a) I’ve done it already, b) I don’t really want to keep living in that headspace, and c) I need to move on from that, as a human. “The prospect of following Stage Four weighed on me so heavily,” he says, speaking over Zoom from his home in LA, with an iced coffee in one hand and a wall holding his famously vast vinyl collection in the background. “But it wasn’t an enjoyable record to write by any means.” Reflecting now, Bolm describes Stage Four as “a necessary record to write” in terms of his wellbeing and handling of grief.
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